An Interview with Helen Jacey

Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction novels, Elvira Slate Investigations. She is a story consultant for international filmmakers and film agencies. Editors Louise Sawtell and Dr Stayci Taylor asked Dr Jacey a series of questions relating specifically to the themes explored by the special issue: gendered practices, processes and perspectives in screenwriting. The following are the insights generously offered by this leader in the field

Donning the ‘slow professor’: A feminist action research project

Corporatization of Higher Education has introduced new performance measurements as well as an acceleration of academic tasks creating working environments characterised by speed, pressure and stress. This paper discusses findings from a qualitative, feminist participatory action research (PAR) study undertaken by an interdisciplinary team of women academics at a modern, corporate university in England. The study illuminates how corporatized HE erodes faculty autonomy, degrades learning environments, damages professional satisfaction and health. Strategies for resistance and liberation developed through the PAR process are discussed

‘Welcome to the Machine!’ Resisting isomorphic, masculinised corporatisation of Higher Education through feminist scholarship

This paper discusses the synthesised findings from two interdisciplinary, feminist studies conducted under the auspices of the non-corporate nexus, the Women’s Academic Network at Bournemouth University, UK, of which the main author is a co-convenor and co-founder. These qualitative studies focus on academic women’s experiences of managing careers in the work culture of corporate Institutions of Higher Education (HEI) in a modern UK university. The background to this work draws from a body of international research into the slower career progression rates of women academics in comparison to male counterparts and gendered barriers the former encounter. While there has encouragement within Higher Education bodies across the EU to balance out the current gendered inequities within academia, our findings indicate that these are woven into the institutional fabric of enacted daily academic practices serving to disadvantage women scholars

The hero and heroine's journey and the writing of <I>Loy</I>

Christopher Vogler suggests an essential humanity beyond gender and sexual difference lies at the heart of the Hero's Journey archetypal paradigm which he presents in The Writers Journey (2007), yet he still advises readers to go elsewhere for alternative theories on the woman's journey, recommending key Jungian feminist theories including Maureen Murdock's The Heroine's Journey (1990), and Clarissa Pinkola Estes's Women Who Run With The Wolves (1992). Through the practice of writing a screenplay Loy, a biopic based on the life of modernist poet and artist Mina Loy (18821966), I questioned to what extent is the Hero's Journey useful as a metaphoric aid in supporting the development of a screenplay with two female protagonists, and to what extent does the paradigm have a masculine bias? This article first sets out the principles of Vogler's Hero's Journey and Murdock's Heroine's Journey cycle. I then explore the strengths and weaknesses of both models as creative aids during the development of my screenplay, with particular reference to the development of character, structure and theme. Turning to the notion of archetypes as a creative system for characterization, I discuss how I used archetypes in the development of Loy's protagonists. Finally, I draw on Clarissa Pinkola Estes's myth of the Skeleton Woman as an effective metaphoric aid for the development of narratives where relationships are central. I conclude that while the Hero's Journey has key strengths, models from Jungian feminism are particularly rich for screenwriters developing female-led stories