EDITOR'S
NOTE
Brave New World:
Popular Culture and the Creative Writing Curriculum
Or, Some Thoughts on the Short Dramatic Form
Last year, I directed the creative writing program at Pepperdine
University and taught a course called Creative Writing for the
Professional Market. These experiences led me to examine what was
going on in American popular culture and the professional marketplace
in the context of the opportunities for creative writers and our
curricular requirements. What I discovered was a burgeoning market
for the
short dramatic form – a form we had not been emphasizing
in our curriculum.
One example of what I had found came in a film festival spotlight
email from withoutabox.com. For those of you who rank Los Angeles,
filmmaking – even
if it is independent – and
the film festival circuit – the whole lot of it – somewhere
between having your gums scraped and stepping in your puppy’s
poop at midnight as you make your way from the bed to the bathroom – IN
YOUR BARE FEET (not that I have any personal experience with that),
withoutabox.com is the website through which most of us – I
am co-principal of a small production company – submit
our films for consideration. In other words, they have the
forms and the payment methods for most of the film
festivals.
“In the Spotlight this week” the email announced, “is
the Canadian Film Centre's WORLDWIDE SHORT FILM FESTIVAL (WSFF),
an Academy Award and BAFTA-nominating fest held in the vibrant
city of Toronto, Canada's film mecca.”
“The WSFF,” the email continued, “boasts the biggest
marketplace for short film in North America making all 3000+ submitted
entries available for viewing by international buyers, distributors,
programmers and broadcasters during the six day festival each June.
Dedicated to the short film format, the WSFF has set itself apart
from other film festivals that may screen a mix of both. The WSFF
is also committed to paying artist fees to films selected to screen
at the festival.”
The email continued, “The Festival opens with a gala party
and screening of award winning shorts from around the world, and
the next five days are a whirlwind of parties, networking events,
screenings and symposium sessions. There are networking events
every day of the festival and the friendly festival staff will
facilitate meetings with the people you need.”
“In 2006,” I read on, “over 400 films were picked up
for distribution or signed sales agreements as a result of being
screened or available for viewing in the marketplace library. WSFF
organizes a four day symposium that runs during the festival entitled ‘Short
Film BIG IDEAS,’ a gold mine of useful information on everything
about short film from finding funding for a project to selling
your completed film.”
“As one of only three festivals in Canada accredited by the Academy
of Motion Picture Arts and Sciences®,” the email bragged, “winners
of the Best Live-Action Short and Best Animated Short are eligible
for the Academy Awards®; and Canadian award winners are eligible
for the Genie Awards. Presenting over $125,000 in cash and prizes,
the WSFF offers one of the largest prize packages for short film
in the world.”
While short films used to be about as welcome as a neo-conservative
at a Hillary Clinton fundraiser, they have become more prominent,
more featured on the film festival circuit. For example, the screenings
for shorts were squeezed between the more “important” feature
film or documentary screenings in a wing far, far away. Or shown
before a feature to “warm up” the audience. Now, not
only are they more prominent on the festival program, some festivals
have actually devoted the week before or after their feature length
screenings to a shorts fest. In other cases, like the Worldwide
Short Film Festival, the shorts have broken away from the main
festival to form a festival of their own.
For the first time, this past January after the Sundance Film Festival
in Park City, Utah, the Sundance website featured select shorts
that could be downloaded on iTunes for $1.99. Last November, the
mobile phone association GSMA sent out a press release. The headline:
Robert Redford Announces Sundance Film Festival Short Film Project
for Mobile. The press release read, “Sundance Institute,
a champion for independent filmmakers for over 25 years, announced
today that it is joining forces with the GSM Association (GSMA),
whose members serve more than 2 billion mobile phone customers
across the globe, to create the Sundance Film Festival: Global
Short Film Project, a groundbreaking pilot project that will showcase
and extend the reach of the independent short film genre to mobile
users worldwide. Unveiled at a press conference at the Museum of
Television & Radio in New York, the organizers of the Sundance
Film Festival in conjunction with the GSMA, have commissioned six
independent filmmakers to create five short films, crafted exclusively
for mobile distribution. All of the filmmakers participating in
the project have screened films at the annual Sundance Film Festival.” Robert
Redford was then quoted as saying, “Cell phones are fast
becoming the ‘fourth screen’ medium, after television,
cinema and computers,’ We feel this experiment embodies fully,
our quarter-century dedication to exploring new platforms to support
wider distribution of independent voices in filmmaking.”
The press release went on to explain, “While cell phones
have previously been used to deliver film and entertainment content,
this pilot project is believed to be the first to commission high
calibre independent filmmakers to create original stories specifically
for the mobile environment. The project presents creative challenges
to the filmmakers who will be working with a limited budget, time
and resources to make a 3-5 minute film for a small mobile screen.” John
Cooper, Director of Programming for the Sundance Film Festival
and Creative Director for Sundance Institute and head of this new
project, then stated, “The Global Short Film Project takes
us into the realms of a uniquely intimate new medium, one which
holds tremendous promise for maximizing the impact and international
reach of the short film genre, and in doing so serving the artists.” Plugging
the revolutionary aspect of this partnership, Bill Gajda, Chief
Marketing Officer at the GSM Association was quoted as saying, “The
emergence of mobile as the fourth screen is already changing the
way people are educated and entertained. This project will explore
the potential of the mobile medium to deliver compelling, cinematic
entertainment to a global audience on an unprecedented scale.”
Last November, I read a paper at The International Digital Media
and Arts Conference in San Diego. One of the plenary speakers had
just hosted the first Third Screen Film Festival – obviously
he had not conferenced with Robert Redford who considers cell phones
the fourth screen – indeed Jon Katzman joked that he might
have to change the name of his festival now that TV, film, and
computer had been named as the first three screens by the Sundance
icon. At any rate, Katzman made the argument during his Q & A
that the new media – especially the computer and cell phone – required
short form dramatic works, AKA short scripts. He told us that he
was able to acquire major Hollywood players to judge the contest
and the winner was being courted by an MTV executive.
Just recently, YouTube announced it may begin paying for original
content. In a recent AP wire, I read the following, “Chad
Hurley, co-founder of YouTube, said Saturday that the wildly successful
site will start sharing revenue with its millions of users. Hurley,
who along with the site's co-founders sold YouTube to Google for
$1.65 billion in November, said one of the major innovations the
site is working on is a way to allow users to be paid for content.” The
wire then quoted Hurley who then was at the World Economic Forum
when he announced this change, “We are getting an audience
large enough where we have an opportunity to support creativity,
to foster creativity through sharing revenue with our users…So
in the coming months, we are going to be opening that up.”
As a result of what I have just recounted, I have seen
the need to emphasize the short script in our curriculum. Responsible
creative writing programs, it seems to me, must prepare their students
for the current marketplace which places an increasing premium
on just such a form. (I should add that our undergraduate majors
cannot choose a genre. They are required to take courses in poetry,
fiction, playwriting, and screenwriting.)
One way in which I have done this is to take five weeks at the
end of Creative Writing for the Professional Market to work on
short scripts. (We already have playwriting and screenwriting classes
in which students write full length work.) Upon first assigning
readings from the text with which I chose to inspire my students
in this
new endeavor – Take Ten, a collection of ten minute
plays – and
then assigning the writing of said short scripts, one of my students
greeted this segment of the course with skepticism. “Is there
really a market for this?” she asked me while flipping through
the book.
I was surprised that a twenty-one-year-old senior would ask me
such a question given the fact (she later confessed to us) that
she was often on her laptop and cell phone, far more than she was
in front of the television or seated in a theater. “YES,” I
assured her, them, the class, “there is definitely a market
for this.”
After some cajoling, comforting, and explaining on my part, the
students proceeded to embrace the assignment and ended up writing
some pretty amazing ten page scripts, some of which were performed
in our end-of-the-semester showcase WordFest. Although poems and
short stories were also read at the event, the short plays were
the most exciting for the students to perform and for the audience
to receive. In other words, the short plays created the most buzz – if
you’ll allow me to use a Hollywood term – after the
show. Indeed, I might also add before I close, that I have noticed
theaters in Los Angeles moving to shorter one-act performances
with no intermission. I have also read the words “An Evening
of One Act Plays” off many a theater marquee while I have
been stuck in traffic.
Webisodes, iPods, YouTube, and cell phones, all popular culture
toys of youth, need content, and the content they are looking for
is short. No doubt, this trend explains the increasing attention
and prominence accorded the short film on the festival circuit – and
the emergence of fourth screen film festivals – even if at
least one is called third screen – at least for now – I
have a feeling Robert Redford may win out on this one.
Although I realize some undergraduate programs have already been
encouraging students to work in the short dramatic form, I would
encourage all of us to include this practice in our curriculum
thereby preparing our students for the realities of creative writing
in the twenty-first century.
Leslie Wilson, Editor
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