Skip to main content

United Kingdom

  • Chapter
Women Screenwriters

Abstract

Despite the fact that screenwriting in the United Kingdom has been a male-dominated profession there were numerous women scenario writers in early cinema and prominent female writers between the 1930s and the end of the 1950s. By the early 1960s television was replacing film as the mass popular medium and, as the demand for melodrama and female-centred stories in cinema was replaced by TV soaps, the number of women writing for film declined substantially. Several went on to work in television where there have been many high-quality series and films for TV written by women. Since 2010 the proportion of women film writers has reached its highest level for many years and the need to have a more even distribution of gender in all aspects of film production, but especially writers and directors, is hopefully being addressed.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 169.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 219.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 219.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  • Aitken, I. 1994. ‘Stop the Serbian Juggernaut’, New Statesman and Society, 16 (30): 15.

    Google Scholar 

  • Anderson, L. 2004 (1994). ‘Commentary’ for The White Bus, in P. Ryan (ed.) Never Apologise: The Collected Writings, Lindsay Anderson. London: Plexus pp. 105–7.

    Google Scholar 

  • Anon. 1961. ‘Film Virtues in A Taste of Honey’, Times, 13 September, p. 14.

    Google Scholar 

  • Anon. 2011. ‘Shelagh Delaney Obituary’, Manchester Evening News, 22 November. Available at: http://www.manchestereveningnews.co.uk/news/greater-manchester-news/tributes-tosalford-playwright-shelagh-delaney-876474 (accessed 10 January 2013).

    Google Scholar 

  • Anthony, B. 2006. ‘Kellino Will (1837–1957)’, in Robert Murphy (ed.) Directors in British and Irish Cinema ( London: BFI ).

    Google Scholar 

  • Arnold, A. 2008. Fish Tank. Shooting script, 21 July, 103 pp.

    Google Scholar 

  • Aspinall, S., and R. Murphy. 1983. Gainsborough Melodrama Dossier. London: BFI.

    Google Scholar 

  • Auiler, D. 1999. Hitchcock’s Secret Notebooks. London: Bloomsbury.

    Google Scholar 

  • Balcon, M. 1954. Letter to Jill Craigie 3 March, H/83. Correspondence w/ Jill CRAIGIE. ( London: BFI].

    Google Scholar 

  • Balcon, M. 1956. Letter to Jill Craigie 20 June, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.

    Google Scholar 

  • Balcon, M. 1958. Letter to Jill Craigie 14 January, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.

    Google Scholar 

  • Barker, D. 2011. ‘Shelagh Delaney Obituary’, Guardian, 21 November. Available at: http://www.guardian.co.uk/stage/2011/nov/21/shelagh-delaney (accessed 10 January 2013).

    Google Scholar 

  • Benedictus, L. 2005. ‘Lynne: People Quote Your Films at Parties. Mike: Those are Lousy Parties’, Guardian, 4 February. Available at: http://www.guardian.co.uk/film/2005/feb/04/ mikeleigh (accessed 12 October 2013).

    Google Scholar 

  • Bogarde, D. 1979. Snakes and Ladders. St Albans: Triad/Panther Books.

    Google Scholar 

  • Box, M. 1974. Odd Woman Out. London: Leslie Frewin.

    Google Scholar 

  • Brown, G. 2008. ‘The British Cineaste-Screenwriter’, Journal of British Cinema and Television, 5 (2): 247–8.

    Article  Google Scholar 

  • Burton, A., and T. O’Sullivan. 2009. The Cinema of Basil Dearden and Michael Relph. Edinburgh: Edinburgh University Press.

    Book  Google Scholar 

  • Burton, A., T. O’Sullivan, and P. Wells. 1997. Liberal Directions: Basil Dearden and Post War British Film Culture. London: Flicks Books.

    Google Scholar 

  • Chibnall, S. 2000. J. Lee Thompson. Manchester: Manchester University Press.

    Google Scholar 

  • Chibnall, S., and B. McFarlane. 2009. The British ‘B’ Film. London: BFI.

    Book  Google Scholar 

  • Chivers, S. 2011. The Silvering Screen: Old Age and Disability in Cinema. Toronto, Buffalo and London: University of Toronto Press.

    Google Scholar 

  • Craigie, J. 1953. The Million Pound Note. Shooting Script, 24 March, ESA/3. London: BFI.

    Google Scholar 

  • Craigie, J. 1954. The Million Pound Note. Post–production script, domestic version/with amendments, S14837–9–12–1953/ 18–1–1954. London: BFI.

    Google Scholar 

  • Craigie, J. 1956. Letter to Michael Balcon 19 June, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.

    Google Scholar 

  • Craigie, J. 1958. Letter to Michael Balcon 12 January, I/45. Correspondence w/ Jill CRAIGIE. London: BFI.

    Google Scholar 

  • Craigie, J. 1986. ‘Fifties Features–The Women Behind the Pictures’. Transcript of interview with Jill Craigie, S8938. London: BFI.

    Google Scholar 

  • Craigie, J. 1995. Interview 363. BECTU History Project, British Film Institute Collections. Available at: http://www.bectuinterviews.uea.ac.uk/bectu-interviews/interviews (accessed 21 August 2013).

    Google Scholar 

  • Craigie, J. n.d. Blue Scar. Release Script, S13924. London: BFI.

    Google Scholar 

  • Craigie, J. n.d. Windom’s Way. Shooting Script, domestic version, S15202. London: BFI

    Google Scholar 

  • Davison, R. 1961. A Taste of Honey. Continuity Reports, 14/3/61–1/5/61, S2694. London: BFI.

    Google Scholar 

  • Delaney, S. 1959. A Taste of Honey. London: Eyre Methuen.

    Google Scholar 

  • Delaney, S. 1963. ‘The White Bus’, in Sweetly Sing the Donkey. New York: G. P. Putnam’s Sons, pp. 165–86.

    Google Scholar 

  • Delaney, S. [1965a?]. The White Bus. Unknown draft, London Woodfall Film Productions, 25 pp., SI405. London: BFI.

    Google Scholar 

  • Delaney, S. [1965b?]. The White Bus. Incomplete third draft, London Woodfall Film Productions, 10 pp., SI405. London: BFI.

    Google Scholar 

  • Delaney, S. 1966a. Charlie Bubbles. Unknown Draft, 6/6/66, London Memorial Enterprise, 102 pp., S15181. London: BFI.

    Google Scholar 

  • Delaney, S. 1966b. Charlie Bubbles. Screenplay, 19/09/66, London Memorial Enterprise, 104 pp., S1119. London: BFI.

    Google Scholar 

  • Delaney, S., and T. Richardson. 1961. A Taste of Honey. Final screenplay (composite), 3/3/1961, London Woodfall Film Productions, 89 pp., S328. London: BFI.

    Google Scholar 

  • Dunn, J. 2011. ‘Q & A with Jan Dunn’ (video online). Available at: YouTube.com/watch?v= w19MC7GxN4 (accessed 23 February 2013 ).

    Google Scholar 

  • Ehrenstein, D. 1993. ‘Out of the Wilderness’, Film Quarterly, 47 (1): 2–7.

    Article  Google Scholar 

  • Ffrancon, G. 2007. ‘The Same Old Firm Dressed up in a New Suit: Blue Scar (Craigie 1949) and the Portrayal of the Nationalization of the Coal Industry’, Media History, 13 (2/3): 169–81.

    Article  Google Scholar 

  • Fletcher, J. 1968. About the White Bus. UK, 60 mins.

    Google Scholar 

  • Florence, P. 1993. ‘A Conservation with Sally Potter’, Screen, 34 (3): 275–84.

    Article  Google Scholar 

  • Forrest, D. 2010. ‘Better Things (Duane Hopkins, 2008) and New British Realism’, New Cinemas, 8 (1): 31–43.

    Article  Google Scholar 

  • Fowler, C. 2009. Sally Potter. Illinois: University of Illinois Press.

    Google Scholar 

  • Gilbert, J. n.d. ‘Jan Dunn (Writer-Director)–The Calling’. Available at: www.mymovie-mundo.com/director/jan-dunn-writer-director-the-calling (accessed 20 February 2013 ).

  • Gledhill, C. 2007. ‘Reframing Women in 1920s British Cinema: the Case of Violet Hopson and Dinah Shurey’, Journal of British Cinema and Television, 4 (1): 1–17.

    Article  Google Scholar 

  • Gourdin-Sangouard, I. 2010. ‘The Cinema Authorship of Lindsay Anderson: Anderson’s Directorial Practice’, Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 3 (1): 1–18. Available at: http://ojs.meccsa.org.uk/index.php/netknow/article/view/54/54 (accessed 3 August 2015).

    Google Scholar 

  • Hall, S. 2009. ‘The Wrong Sort of Cinema: Refashioning the Heritage Film Debate’, in R. Murphy (ed.) The British Cinema Book. London: BFI, pp. 46–56.

    Google Scholar 

  • Harper, S. 2000. Women in British Cinema: Mad, Bad and Dangerous to Know. London: Bloomsbury.

    Google Scholar 

  • Hepworth, C. 1951. Came the Dawn. London: Phoenix House.

    Google Scholar 

  • Higson, A. 1996. ‘Space, Place, Spectacle: Landscape and Townscape in the “Kitchen Sink” Film’, in A. Higson (ed.) Dissolving Views: Key Writings on British Cinema. London: Cassell, pp. 133–56.

    Google Scholar 

  • Hill, J. 1986. Sex, Class and Realism: British Cinema 1956–63. London: BFI.

    Google Scholar 

  • History and Civic Viewing Committee. 1949. ‘Review: Children of the Ruins’, Monthly Film Bulletin, 16 (185): 91.

    Google Scholar 

  • Houston, P. 1992. Went the Day Well? London: BFI.

    Google Scholar 

  • James, A. 1999. W. W. Jacobs: A Biography. Knebworth: Able Publishing.

    Google Scholar 

  • Jill Craigie Special Collection: Women’s Library, London School of Economics. (Uncatalogued, labelled by Craigie as ‘Jill Craigie as Film Maker’) (refs 7JCC/B/survey/50 and 7JCC/B/ survey/51).

    Google Scholar 

  • Korte, B., and J. Sternberg. 2009. ‘Asian British Cinema since the 1990s’, in R. Murphy (ed.) The British Cinema Book. London: BFI, pp. 387–95.

    Google Scholar 

  • Kuhn, A. 2008. Ratcatcher. BFI Film Classics. London: BFI/Palgrave

    Google Scholar 

  • Macmillan L.H.C. 1949. ‘Review: Blue Scar’, To-Day’s Cinema, 8 April, p. 8.

    Google Scholar 

  • Lee, N. 1937. Money for Film Stories. London: Isaac Pitman.

    Google Scholar 

  • Lee, W. 1973. Reference Guide to Fantastic Films. LA: Chelsea Lee Books.

    Google Scholar 

  • Liddy, S. 2013. The Representation of Mature Female Sexuality in British and Irish Films, 1998–2012. Unpublished PhD thesis, Lancaster University.

    Google Scholar 

  • Lovell, T. 1996. ‘Landscapes and Stories in 1960s British Realism’, in A. Higson (ed.) Dissolving Views: Key Writings on British Cinema. London: Cassell, pp. 157–77.

    Google Scholar 

  • Low. R. 1971. The History of the British Film 1918–29. London: George Allen and Unwin.

    Google Scholar 

  • Macdonald, I. 2011. ‘Screenwriting in Britain 1895–1929’, in J. Nelmes (ed.) Analysing the Screenplay. London: Routledge, pp. 44–66.

    Google Scholar 

  • Maume, C. 2011. ‘Shelagh Delaney Obituary’, Independent, 22 November. Available at: http://www.independent.co.uk/news/obituaries/shelagh-delaney-writer-best-known-for-her-controversial-first-play-a-taste-of-honey-6265757.html (accessed 10 January 2013).

    Google Scholar 

  • Mayer, S. 2009. The Cinema of Sally Potter. New York: Columbia University Press.

    Google Scholar 

  • McFarlane, B. 1997. An Autobiography of British Cinema. London: Methuen.

    Google Scholar 

  • McFarlane, B. 1999. Lance Comfort. Manchester: Manchester University Press.

    Google Scholar 

  • Meisel, M. 1983. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England. Princeton, NJ: Princeton University Press.

    Google Scholar 

  • Merz, C. 1994. ‘The Tension of Genre: Wendy Toye and Muriel Box’, in Winston Wheeler Dixon (ed.) Re-viewing British Cinema. New York: SUNY Press.

    Google Scholar 

  • Murphy, R. 1992. Realism and Tinsel. London: Routledge.

    Google Scholar 

  • Murphy, R. 1998. ‘Gainsborough Producers’, in P. Cook (ed.) Gainsborough Pictures. London: Continuum.

    Google Scholar 

  • Murphy, R. 2014. ‘New Morning: Optimism and Resilience in Tony Richardson’s A Taste of Honey and The Loneliness of the Long Distance Runner’, Journal of British Cinema and Television, 11 (2–3): 378–96.

    Article  Google Scholar 

  • Parker, P. 1999. The Art and Science of Screenwriting. Exeter: Intellect Books.

    Google Scholar 

  • Porter, V. 2001. ‘Methodism versus the Market Place’, in Robert Murphy (ed.) The British Cinema Book. London: BFI.

    Google Scholar 

  • Potter, S. 2014. Naked Cinema: Working with Actors. London: Faber & Faber.

    Google Scholar 

  • Potter, S. 1994. Orlando. London: Faber & Faber.

    Google Scholar 

  • Potter, S. 2000. The Man Who Cried. London: Faber & Faber,.

    Google Scholar 

  • Potter, S. 1997. The Tango Lesson. London: Faber & Faber.

    Google Scholar 

  • Potter, S. 2005. Yes. London: Faber & Faber.

    Google Scholar 

  • Ramsay, L. 1999. Ratcatcher. London: Faber & Faber.

    Google Scholar 

  • Ramsay, L., and R. Kinnear. 2007. ‘We Need To Talk About Kevin’. Available at: http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-We_Need_to_Talk_About_Kevin.pdf (accessed 14 September 2012).

    Google Scholar 

  • Ramsay, L. 2006. ‘Gasman: Director’s Commentary’, on Cinema16: British Short Films DVD. London: Cinema16.

    Google Scholar 

  • Randle, K., J. Kurian, and W. F. Leung. 2007. ‘Creating Difference–Overcoming Barriers to Diversity in UK Film and Television: Executive Summary’. Available at: www.equal-works.com/resources/contentfiles/5504.pdf (accessed 12 July 2011).

    Google Scholar 

  • Rollyson, C. 2005. To Be A Woman: The Life of Jill Craigie. London: Aurum Press.

    Google Scholar 

  • Sharp, D. (ed.). 2006. Older Women in Feature Films: A Research Guide About Representations of Women Over 60. London: U3A and British Film Institute.

    Google Scholar 

  • Spicer, A. 2006. Sydney Box. Manchester: Manchester University Press.

    Google Scholar 

  • UK Film Council. 2011. ‘A Future for British Film: It Begins With the Audience’. Available at: www.culture.gov.uk/./DCMS_film_policy_review_report-2012_up (accessed 5 September 2012).

    Google Scholar 

  • Weber, B. 2011. ‘Shelagh Delaney Obituary’, New York Times, 24 November. Available at: http://www.nytimes.com/2011/11/25/arts/shelagh-delaney-playwright-dies-at-72.html?_r=0 (accessed 10 January 2013).

    Google Scholar 

  • Weitz, R. 2010. ‘Changing the Scripts: Midlife Women’s Sexuality in Contemporary US Film’, Sexuality and Culture, 14: 17–32.

    Article  Google Scholar 

  • Weston, H. 1916. The Art of Photoplay Writing. London: McBride, Nast & Co.

    Google Scholar 

  • Whelehan, I. 2010. ‘Not To Be Looked At: Older Women in Recent British cinema’, in M. Bell and M. Williams (eds) British Women’s Cinema. London and New York: Routledge.

    Google Scholar 

  • Williams, M. 2009. ‘Twilight Women of 1950s British Cinema’, in R. Murphy (ed.) The British Cinema Book. London: BFI, pp. 286–96.

    Google Scholar 

  • Williamson, C. H. B. 1953. ‘About British Films’, To-Day’s Cinema, 80 (6740): 18.

    Google Scholar 

  • Wistreich, N. 2006. ‘Gypo-Director Jan Dunn and Producer Elaine Wickham’. Available at: www.netribution.co.uk/…/gypo-director-jan-dunn-amd-producer-elai (accessed 20 February 2013).

    Google Scholar 

  • Woodward, K. 2006. ‘Performing Age, Performing Gender’, NWSA Journal, 18 (1): 162–89.

    Article  Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 2015 Lavinia Brydon, Marcella Forster, Christine Gledhill, Stella Hockenhull, Susan Liddy, Nathalie Morris, Jill Nelmes, Jamie Sherry and Paul Wells

About this chapter

Cite this chapter

Brydon, L. et al. (2015). United Kingdom. In: Nelmes, J., Selbo, J. (eds) Women Screenwriters. Palgrave Macmillan, London. https://doi.org/10.1057/9781137312372_43

Download citation

Publish with us

Policies and ethics