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.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Aitken, I. 1994. ‘Stop the Serbian Juggernaut’, New Statesman and Society, 16 (30): 15.
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.
Anon. 1961. ‘Film Virtues in A Taste of Honey’, Times, 13 September, p. 14.
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).
Anthony, B. 2006. ‘Kellino Will (1837–1957)’, in Robert Murphy (ed.) Directors in British and Irish Cinema ( London: BFI ).
Arnold, A. 2008. Fish Tank. Shooting script, 21 July, 103 pp.
Aspinall, S., and R. Murphy. 1983. Gainsborough Melodrama Dossier. London: BFI.
Auiler, D. 1999. Hitchcock’s Secret Notebooks. London: Bloomsbury.
Balcon, M. 1954. Letter to Jill Craigie 3 March, H/83. Correspondence w/ Jill CRAIGIE. ( London: BFI].
Balcon, M. 1956. Letter to Jill Craigie 20 June, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.
Balcon, M. 1958. Letter to Jill Craigie 14 January, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.
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).
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).
Bogarde, D. 1979. Snakes and Ladders. St Albans: Triad/Panther Books.
Box, M. 1974. Odd Woman Out. London: Leslie Frewin.
Brown, G. 2008. ‘The British Cineaste-Screenwriter’, Journal of British Cinema and Television, 5 (2): 247–8.
Burton, A., and T. O’Sullivan. 2009. The Cinema of Basil Dearden and Michael Relph. Edinburgh: Edinburgh University Press.
Burton, A., T. O’Sullivan, and P. Wells. 1997. Liberal Directions: Basil Dearden and Post War British Film Culture. London: Flicks Books.
Chibnall, S. 2000. J. Lee Thompson. Manchester: Manchester University Press.
Chibnall, S., and B. McFarlane. 2009. The British ‘B’ Film. London: BFI.
Chivers, S. 2011. The Silvering Screen: Old Age and Disability in Cinema. Toronto, Buffalo and London: University of Toronto Press.
Craigie, J. 1953. The Million Pound Note. Shooting Script, 24 March, ESA/3. London: BFI.
Craigie, J. 1954. The Million Pound Note. Post–production script, domestic version/with amendments, S14837–9–12–1953/ 18–1–1954. London: BFI.
Craigie, J. 1956. Letter to Michael Balcon 19 June, H/83. Correspondence w/ Jill CRAIGIE. London: BFI.
Craigie, J. 1958. Letter to Michael Balcon 12 January, I/45. Correspondence w/ Jill CRAIGIE. London: BFI.
Craigie, J. 1986. ‘Fifties Features–The Women Behind the Pictures’. Transcript of interview with Jill Craigie, S8938. London: BFI.
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).
Craigie, J. n.d. Blue Scar. Release Script, S13924. London: BFI.
Craigie, J. n.d. Windom’s Way. Shooting Script, domestic version, S15202. London: BFI
Davison, R. 1961. A Taste of Honey. Continuity Reports, 14/3/61–1/5/61, S2694. London: BFI.
Delaney, S. 1959. A Taste of Honey. London: Eyre Methuen.
Delaney, S. 1963. ‘The White Bus’, in Sweetly Sing the Donkey. New York: G. P. Putnam’s Sons, pp. 165–86.
Delaney, S. [1965a?]. The White Bus. Unknown draft, London Woodfall Film Productions, 25 pp., SI405. London: BFI.
Delaney, S. [1965b?]. The White Bus. Incomplete third draft, London Woodfall Film Productions, 10 pp., SI405. London: BFI.
Delaney, S. 1966a. Charlie Bubbles. Unknown Draft, 6/6/66, London Memorial Enterprise, 102 pp., S15181. London: BFI.
Delaney, S. 1966b. Charlie Bubbles. Screenplay, 19/09/66, London Memorial Enterprise, 104 pp., S1119. London: BFI.
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.
Dunn, J. 2011. ‘Q & A with Jan Dunn’ (video online). Available at: YouTube.com/watch?v= w19MC7GxN4 (accessed 23 February 2013 ).
Ehrenstein, D. 1993. ‘Out of the Wilderness’, Film Quarterly, 47 (1): 2–7.
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.
Fletcher, J. 1968. About the White Bus. UK, 60 mins.
Florence, P. 1993. ‘A Conservation with Sally Potter’, Screen, 34 (3): 275–84.
Forrest, D. 2010. ‘Better Things (Duane Hopkins, 2008) and New British Realism’, New Cinemas, 8 (1): 31–43.
Fowler, C. 2009. Sally Potter. Illinois: University of Illinois Press.
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.
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).
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.
Harper, S. 2000. Women in British Cinema: Mad, Bad and Dangerous to Know. London: Bloomsbury.
Hepworth, C. 1951. Came the Dawn. London: Phoenix House.
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.
Hill, J. 1986. Sex, Class and Realism: British Cinema 1956–63. London: BFI.
History and Civic Viewing Committee. 1949. ‘Review: Children of the Ruins’, Monthly Film Bulletin, 16 (185): 91.
Houston, P. 1992. Went the Day Well? London: BFI.
James, A. 1999. W. W. Jacobs: A Biography. Knebworth: Able Publishing.
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).
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.
Kuhn, A. 2008. Ratcatcher. BFI Film Classics. London: BFI/Palgrave
Macmillan L.H.C. 1949. ‘Review: Blue Scar’, To-Day’s Cinema, 8 April, p. 8.
Lee, N. 1937. Money for Film Stories. London: Isaac Pitman.
Lee, W. 1973. Reference Guide to Fantastic Films. LA: Chelsea Lee Books.
Liddy, S. 2013. The Representation of Mature Female Sexuality in British and Irish Films, 1998–2012. Unpublished PhD thesis, Lancaster University.
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.
Low. R. 1971. The History of the British Film 1918–29. London: George Allen and Unwin.
Macdonald, I. 2011. ‘Screenwriting in Britain 1895–1929’, in J. Nelmes (ed.) Analysing the Screenplay. London: Routledge, pp. 44–66.
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).
Mayer, S. 2009. The Cinema of Sally Potter. New York: Columbia University Press.
McFarlane, B. 1997. An Autobiography of British Cinema. London: Methuen.
McFarlane, B. 1999. Lance Comfort. Manchester: Manchester University Press.
Meisel, M. 1983. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England. Princeton, NJ: Princeton University Press.
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.
Murphy, R. 1992. Realism and Tinsel. London: Routledge.
Murphy, R. 1998. ‘Gainsborough Producers’, in P. Cook (ed.) Gainsborough Pictures. London: Continuum.
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.
Parker, P. 1999. The Art and Science of Screenwriting. Exeter: Intellect Books.
Porter, V. 2001. ‘Methodism versus the Market Place’, in Robert Murphy (ed.) The British Cinema Book. London: BFI.
Potter, S. 2014. Naked Cinema: Working with Actors. London: Faber & Faber.
Potter, S. 1994. Orlando. London: Faber & Faber.
Potter, S. 2000. The Man Who Cried. London: Faber & Faber,.
Potter, S. 1997. The Tango Lesson. London: Faber & Faber.
Potter, S. 2005. Yes. London: Faber & Faber.
Ramsay, L. 1999. Ratcatcher. London: Faber & Faber.
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).
Ramsay, L. 2006. ‘Gasman: Director’s Commentary’, on Cinema16: British Short Films DVD. London: Cinema16.
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).
Rollyson, C. 2005. To Be A Woman: The Life of Jill Craigie. London: Aurum Press.
Sharp, D. (ed.). 2006. Older Women in Feature Films: A Research Guide About Representations of Women Over 60. London: U3A and British Film Institute.
Spicer, A. 2006. Sydney Box. Manchester: Manchester University Press.
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).
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).
Weitz, R. 2010. ‘Changing the Scripts: Midlife Women’s Sexuality in Contemporary US Film’, Sexuality and Culture, 14: 17–32.
Weston, H. 1916. The Art of Photoplay Writing. London: McBride, Nast & Co.
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.
Williams, M. 2009. ‘Twilight Women of 1950s British Cinema’, in R. Murphy (ed.) The British Cinema Book. London: BFI, pp. 286–96.
Williamson, C. H. B. 1953. ‘About British Films’, To-Day’s Cinema, 80 (6740): 18.
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).
Woodward, K. 2006. ‘Performing Age, Performing Gender’, NWSA Journal, 18 (1): 162–89.
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
DOI: https://doi.org/10.1057/9781137312372_43
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-137-31236-5
Online ISBN: 978-1-137-31237-2
eBook Packages: Palgrave Literature CollectionLiterature, Cultural and Media Studies (R0)