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Adventures in Shondaland
Innovator Award for Edited Collection from the Central States Communication Association (CSCA)Shonda Rhimes is one of the most powerful players in contemporary American network television. Beginning with her break-out hit series Grey's Anatomy, she has successfully debuted Private Practice, Scandal, How to Get Away with Murder, The Catch, For The People, and Station 19. Rhimes's work is attentive to identity politics, \"post-\" identity politics, power, and representation, addressing innumerable societal issues. Rhimes intentionally addresses these issues with diverse characters and story lines that center, for example, on interracial friendships and relationships, LGBTIQ relationships and parenting, the impact of disability on familial and work dynamics, and complex representations of womanhood. This volume serves as a means to theorize Rhimes's contributions and influence by inspiring provocative conversations about television as a deeply politicized institution and exploring how Rhimes fits into the implications of twenty-first century television.
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Gender inequality in screenwriting work
This is the first book to critically examine the recruitment and working practices of screenwriters. Drawing on interviews with screenwriters and those that employ them, Natalie Wreyford provides a deep and detailed understanding of entrenched gender inequality in the UK film industry and answers the question: what is preventing women from working as screenwriters? She considers how socialised recruitment and gendered taste result in exclusion, and uncovers subtle forms of sexism that cause women?s stories and voices to be discounted. Gender Inequality in Screenwriting Work also reveals the hidden labour market of the UK film industry, built on personal connections, homophily and the myth of meritocracy. It is essential reading for students and scholars of gender, creative industries, film and cultural studies, as well as anyone who wants to understand why women remain excluded from many key roles in filmmaking.
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The Value Gap
How female directors, producers, and writers navigate
the challenges and barriers facing female-driven projects at each
stage of filmmaking in contemporary Hollywood.
Conversations about gender equity in the workplace accelerated in
the 2010s, with debates inside Hollywood specifically pointing to
broader systemic problems of employment disparities and
exploitative labor practices. Compounded by the devastating #MeToo
revelations, these problems led to a wide-scale call for change.
The Value Gap traces female-driven filmmaking across
development, financing, production, film festivals, marketing, and
distribution, examining the realities facing women working in the
industry during this transformative moment. Drawing from five years
of extensive interviews with female producers, writers, and
directors at different stages of their careers, Courtney Brannon
Donoghue examines how Hollywood business cultures \"value\"
female-driven projects as risky or not bankable. Industry claims
that \"movies targeting female audiences don't make money\" or \"women
can't direct big-budget blockbusters\" have long circulated to
rationalize systemic gender inequities and have served to normalize
studios prioritizing the white male-driven status quo. Through a
critical media industry studies lens, The Value Gap
challenges this pervasive logic with firsthand accounts of women
actively navigating the male-dominated and conglomerate-owned
industrial landscape.
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Impostor syndrome
\"In the third book of the ... series, ... Millie Roper has to pull off two impossible heists--with the fate of the worlds in the balance\"--Amazon.com.
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Woman enters left
\"A woman in the 1950s sets out on a road trip from LA to New Jersey, unknowingly tracing in reverse the path her mother traveled thirty years prior on her way to reclaim a lost love. 1926: Two friends, Ethel Wild and Florrie Daniels, embark on a cross-country adventure in Florrie's Model T. They head west from New Jersey, each with an important destination: Florrie is moving to Hollywood in hopes of becoming a screenwriter, while Ethel is trying to catch up to her husband in Nevada before his residency period is complete and he's able to start divorce proceedings. 1952: Movie star Louise Wilde is summoned to an apartment in Hollywood, where she learns she's inherited screenwriter Florence Daniels's entire estate. The two barely knew each other, and she's baffled; her confusion only grows when she discovers a cache of old photographs of Ms. Daniels with her mother, who died when Louise was six. She drives east to her father's house in New Jersey, hoping he can provide some answers to the mystery, and hoping, too, that the time away will give her a chance to decide what to do about her own failing marriage to a war correspondent home from Korea and fighting his PTSD\"-- Provided by publisher.
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Women Screenwriters Today
The question of whether women write from a unique perspective has been debated since the silent era. McCreadie examines how this female sensibility has been defined and whether, in fact, it exists at all. Such films as Lost in Translation and Monster suggest that women screenwriters are moving in a new direction, heading away from the big-budget action movies that dominate Hollywood today. But action-driven genre films, like the thrillers of Alexandra Seros, seem to belie the perception that women write films that are more dialogue- and character-driven than those of male screenwriters. Whether or not women actually write differently from men and about different topics, the author's unique approach—working with and through the words and lives of the women screenwriters themselves—allows both readers and writers an otherwise unattainable look into the ever-growing and ever more essential world of women in Hollywood. Over the course of cinematic history, women screenwriters have played an essential role in the creation of the films we watch. The question of whether women write from a unique perspective has been debated since the silent era. Marsha McCreadie examines how this female sensibility has been defined and questions whether, in fact, it exists at all. The emergence of such films as Lost in Translation and Monster would seem to suggest that women screenwriters are moving in a new direction, heading away from the big-budget action movies that dominate Hollywood today. But there can always be found an Alexandra Seros, for instance, whose thrillers would seem to prove the opposite case. Working through these contradictions, Marsha McCreadie takes a captivating look at the words and lives of women screenwriters, allowing readers an otherwise unattainable look into the ever-growing and ever more essential world of women in film. Readers interested in film and women's studies will especially enjoy reading Marsha McCreadie's discussions of such films as Little Women, The Thomas Crown Affair, The Piano, Pollock, and Under the Tuscan Sun. Interviews with major women players in the movie business, including Sofia Coppola ( Lost in Translation ) and Emma Thompson ( Sense and Sensibility ), allow readers a unique chance to learn firsthand how women are trying to enter the business, how they pursue and approach the topics they love, and how they have managed to survive and prosper in the unforgiving world of modern cinema. By talking with writers working in Hollywood, Australia, New Zealand, and Europe, Marsha McCreadie provides film fans with an international perspective on the increasingly global film industry.
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June Mathis : the rise and fall of a silent film visionary
\"Along with thousands of other girls who hoped to escape tedious employment and domesticity, June Mathis (1887-1927) started acting as a young teen. After more than a decade of stepping onto stages across the US, she moved into the burgeoning film business and behind the camera to begin a prolific career as a screenwriter and producer for profound movies like The Four Horsemen of the Apocalypse (1921) and Blood and Sand (1922). With her expert use of melodrama and masterful technique, Mathis would eventually become the first female head writer at Metro Pictures. In June Mathis: The Rise and Fall of a Silent Film Visionary, Thomas J. Slater illuminates Mathis's important and complicated life and work, not only detailing her discovery of the silent movie superstar Rudolph Valentino and her involvement on the original screenplay for Ben-Hur (1925) but also her prowess in all aspects of production. Slater pulls from historical records as well as letters, never-before-studied scripts, and Mathis's handwritten will to build a robust narrative for someone who always had to struggle for success, even though Photoplay acknowledged her as \"the most powerful woman in the motion picture industry\" in 1923. Slater discusses Mathis's artistic and moral failings, as well as how her efforts--such as overlooked collaborations with writer Katharine Kavanaugh and actress Alla Nazimova--consistently challenged male dominance, militarism, and greed. Despite her talent and achievements, Mathis was pushed to the margins when the industry began removing women from spheres of influence. Following a few months of freelancing, she suffered a heart attack during a Broadway show and died at the age of forty. Very quickly, this woman whose ideas shaped American film for more than a decade was forgotten. June Mathis portrays the cinematic legacy of this \"million-dollar girl\" whose complex story ended too soon but remains relevant today.\"--Jacket flap.
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Without lying down
Cari Beauchamp masterfully combines biography with social and cultural history to examine the lives of Frances Marion and her many female colleagues who shaped filmmaking from 1912 through the 1940s. Frances Marion was Hollywood's highest paid screenwriter—male or female—or almost three decades, wrote almost 200 produced films and won Academy Awards for writing \"The Big House\" and \"The Champ.\"
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