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135   $aur|n|---|||||
181   $ctxt
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183   $acr
200 10$aWomen screenwriters today$b[electronic resource] $etheir lives and words /$fMarsha McCreadie
210   $aWestport, Conn. $cPraeger Publishers$d2006
215   $a1 online resource (200 p.)
300   $aDescription based upon print version of record.
311   $a0-275-98542-3 
320   $aIncludes bibliographical references (p. [169]-171) and index.
327   $aContents; Acknowledgments; Introduction; CHAPTER ONE Giving Melodrama a Good Name: The Film of Sensibility; CHAPTER TWO Vets and Lifers: How They Got and Stayed In; CHAPTER THREE The New Professionals; CHAPTER FOUR Breakaway Queens and Genre Benders: Women Writers Stretching and Bending the Film Form; CHAPTER FIVE Adaptation; CHAPTER SIX The Independents: Finding a Perch, Having Their Say; CHAPTER SEVEN The Pragmatists: Moving between Film and Television; CHAPTER EIGHT The Smaller Screen-TV: A Better Fit for Women?; CHAPTER NINE The View from Abroad; CHAPTER TEN Conclusion
327   $aAppendix: Brief Biographies of Women ScreenwritersNotes; Selected Bibliography; Index
330   $aThe 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. Whethe
606   $aWomen screenwriters$zUnited States$vBiography
606   $aMotion picture authorship$zUnited States
615  0$aWomen screenwriters
615  0$aMotion picture authorship
676   $a812/.54099287
676   $aB
700   $aMcCreadie$b Marsha$f1943-$01475407
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906   $aBOOK
912   $a9910781198703321
996   $aWomen screenwriters today$93689614
997   $aUNINA