12 The Haunting of Hill House from When Women Write Horror with Dr. Rosanne Welch [Video] (50 seconds)

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12 The Haunting of Hill House from When Women Write Horror with Dr. Rosanne Welch

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

You probably know her more from the show that is currently on Netflix. However this show is not the book at all. It is based upon ideas in the book right? So Netflix is pretty smart. It’s based on the idea that a family grew up in this house and now as adults what’s wrong with their lives that they trace back to these moments in their childhood. So it’s a little bit like a haunted This Is Us, basically, but again with Stephen King, he really believes that the show is quite good and that she would like it and that’s a high praise from him because he thinks she is the greatest science fiction excuse-me horror writer in the United States. So I think it’s pretty cool that you can sample that and then go back and read the book and see where they got the ideas from. Imagine just taking that book and going “How do I do this differently right?” for TV. So Shirley Jackson, a very very big name.

Why The Monkees Matter Cited in Michael Stipe Article via Showbiz Cheatsheet

Always nice to find my book cited in someone else’s writing – and on this post blogger Matthew Trzcinski also embedded a link to “Daydream Believer”… — Rosanne

Beatles: Why Michael Stipe of R.E.M. Called Their Songs ‘Elevator Music’ via Showbiz Cheatsheet

Why The Monkees Matter Cited in Michael Stipe Article via Showbiz Cheatsheet

[…]

Stipe did care about one of the bands inspired by Beatlemania: the Monkees. According to Why The Monkees Matter: Teenagers, Television and American Pop Culture, Stipe said the Monkees mattered much more to him than the Fab Four. He said the Monkees’ “Daydream Believer” was his favorite song as a child and remained a guilty pleasure. Stipe even cited the Monkees as a musical influence. Given that the Fab Four inspired the Monkees, Stipe did take some influence from the Beatles, just not directly.

[…]

Read Beatles: Why Michael Stipe of R.E.M. Called Their Songs ‘Elevator Music’ via Showbiz Cheatsheet


Want to learn more about The Monkees? Buy Why The Monkees Matter: Teenagers, Television and American Pop Culture Why The Monkees Matter 

Bookshop | Amazon

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Acheivement in Comedy.

Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined, and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers.

Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Riderand Five Easy Pieces.

McFarland (Direct from Publisher) | Amazon | Kindle Edition | Nook Edition | Bookshop

From The Journal Of Screenwriting V1 Issue 2: Time, space and movement: screenplay as oral narrative by Adam Ganz

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


Time, space and movement: screenplay as oral narrative by Adam Ganz

Paul Schrader contends that the screenplay is an oral medium. This article explores the validity of this contention by analysing the ballad Janet or Lady Maisry (Child 65) and its use of what are generally thought of as screenwriting techniques to tell its story, in particular looking at the way it makes use of montage, multiple narratives and different timescales to create suspense and involve the audience. It looks at the role of visualization in oral narrative and suggests that screenwriters and analyses have much to gain by looking at films as oral narratives, which like ballads are told rhythmically in real time in front of an audience. It suggests that screenwriters and academics studying the screenplay could benefit from looking at song and music as a helpful paradigm for understanding screenplay techniques and developing screenplay notation.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Learn More About the Stephens College MFA in TV and Screenwriting with this Open House Session [Video]

Thanks to the wonderful women of the Stephens College advancement office who arranged a Virtual Open House for our MFA.

This gave us the chance to meet potential students (and a few who had already been accepted) and answer questions about how the program operates.

It’s always fun to engage with people and share our enthusiasm about the Stephens College MFA in TV and Screenwriting – and nowadays part of the fun of Zooming is checking out other folks’ backgrounds whether they are virtual (are they using the TARDIS of the Golden Gate Bridge) or their real office bookshelves. (Hey – I have that same book on my bookshelf!).

If you have any questions that weren’t answered during this Open House, send them directly to me at rwelch@stephens.edu and I’ll be glad to answer them.

Learn More About the Stephens College MFA in TV and Screenwriting with this Open House Session [Video]

Subscribe to the Stephens College YouTube Channel

 

 

11 More On Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

Watch this entire presentation

11 More On Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

Some of you probably know her more from this short story that is also often read in high schools, The Lottery, which has to do with a town where once a year we choose one person who everybody else in town can stone to death and then we get all our aggressions out and we’re -peaceful the rest of the year and if you think about that coming from the brain of a housewife who’s been hanging around little kids all day and what was she saying about “I just want one day when I can take out all these aggressions and then I’ll be fine. I promise you,” but, of course, the issue is it’s a random — it’s a lottery when that name is pulled and this particular year it’s the mother in a family and how does the family react when it’s their mother that is going to be stoned to death this year. So, a really interesting brain going on with this woman. You might have heard of her before. This is her best-known novel and her best critic novel, “We’ve always lived in the castle.” Again, having to do with the family and people coming together and being horrified together. I think it’s very cool. I like that she says, “I delight in what I fear.” That’s not usually what I delight in but ok, whatever.

From The Journal Of Screenwriting V1 Issue 1: No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy
 
One of the most interesting trends in recent independent cinema has been for film-makers to avoid using traditional screenplays in making their films. Not only have emerging film-makers associated with the so-called mumblecore movement, such as Joe Swanberg, Aaron Katz and Ronald Bronstein, veered away from depending on conventionally written screenplays, but other critically acclaimed films, including The Pool (Smith, 2008) and Ballast (Hammer, 2008), have as well. Indeed, some of the most notable American indie film-makers Gus Van Sant, David Lynch and Jim Jarmusch have employed alternative strategies to the screenplay in such recent films as Elephant (2003), Inland Empire (2006), and The Limits of Control (2009). What is behind these developments and why has the conventional screenplay been under attack? What are the aesthetic benefits of choosing not to rely on a traditional script? Is this a completely new phenomenon or has the industrial screenplay always been an obstacle? I explore these issues by looking at three major strategies that indie film-makers have used in place of the traditional screenplay: improvisation, psychodrama and visual storytelling. Finally, I argue that for current independent film-makers in the United States of America these methods provide an appropriate model for a practice that is attempting to create a truly viable alternative to Hollywood cinema.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

10 Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (36 seconds)

Watch this entire presentation

10 Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

I’m jumping ahead to the woman we consider the mother of all haunted house stories and someone we actually teach in this class that we do here, which is Demons, The Undead and the Monstrous Other and we talk about horror. So Shirley Jackson. Shirley Jackson was actually said by Stephen King to be the best horror writer in American history and hello Stephen King is not exactly a nobody when we talk about that world and so The Haunting of Hill House was her major book. She’s a really interesting woman. She was a housewife which doesn’t sound like woo a housewife and she wrote horror while she was taking care of her kids. She had a little deal with alcoholism so that was a problem.

From The Journal Of Screenwriting V1 Issue 1: Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960) by Rosamund Davies

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960) by Rosamund Davies

The published scnario et dialogues (Duras 1960) (Figure 1) of the film Hiroshima, Mon Amour (1959) feature precise technical specifications of sound and image and more novelistic passages, all of which create an emotional resonance that has been left to the director to translate into images. This article explores Marguerite Duras’s text as a particular example of how the written component of the screen idea (Macdonald 2004a) might function on the page and as part of a dialogue with the director. It also examines the way that the script’s concern with problematizing and drawing attention to the process of representation makes it a palpable and controlling presence in the resulting film.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Stephens College MFA in TV and Screenwriting [Video]

What is the Stephens College MFA in TV and Screenwriting? Here is a short introduction.

Stephens College  MFA in TV and Screenwriting  Official AD

We’re pleased to present a new slideshow designed by graphic artist Phoenix Bussey, a Stephens College undergrad, using photos taken by MFA candidates during the last few years of workshops. We think it tells our story well. Write. Reach. Represent.

Visit the Stephens College MFA in TV and Screenwriting web site to apply today!

Drs. Rosanne Welch and Sarah Clark discuss “Don’t Look a Gift Horse in the Mouth” on the Zilch Podcast’s Monkees 101 Series [Audio]

Drs. Rosanne Welch and Sarah Clark discuss “Don’t Look a Gift Horse in the Mouth” on the Zilch Podcast’s Monkees 101 Series

As you know I always LOVE talking television so when fellow Dr. Sarah Clark of Zilch Nation asked me a while back if I’d like to cohost an ongoing segment of Zilch where we analyze each of the 58  episodes of The Monkees — I jumped at the chance.

Even though I did a lot of this work in the book – I couldn’t cover all the episodes so this segment allows us to take one at a time and do our own critical studies and popular culture coverage. 

Drs. Rosanne Welch and Sarah Clark discuss “Don't Look a Gift Horse in the Mouth” on the Zilch Podcast's Monkees 101 Series [Audio]

Monkees 101 with Rosanne Welch and Sarah Clark discuss the 8th episode of “The Monkees” -“Don’t Look a Gift Horse in the Mouth”,  Anthony Pomes reviews the new Micky & Mike Live CD, Bob & Bethany Kriger Thies Do a song dealing with C-19 as only Monkees fans could. We dedicate this episode to Adam Schlesinger Singer-songwriter and Producer, Thank you for being part of The Monkees story and understanding them and us.

Listen to this episode


Want to learn more about The Monkees? Buy Why The Monkees Matter: Teenagers, Television and American Pop Culture

 

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Acheivement in Comedy.

Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined, and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers.

Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Riderand Five Easy Pieces.

McFarland (Direct from Publisher) | Amazon | Kindle Edition | Nook Edition

Want to use “Why The Monkees Matter” in your classroom?

Order Examination Copies, Library and Campus Bookstore orders directly from McFarland

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