A Study of the Invisible Art Form and Interviews with Women Screenwriters
The Story of the Mexican Screenplay focuses on a general historical investigation of the Mexican screenplay, specifically on women’s screenwriting. In addition to screenplay analysis, the interviews with women screenwriters are revealing of various cultural issues such as gender discrimination in the work place, political censorship, collective screenwriting, and collaboration among writers, and with the director. These topics explain, in part, the double marginalization of female screenwriting in Mexico.
Chapter Eight. The Creative Process of Collective Screenwriting, and the Standing of Screenplay in the Mexican Cinema Industry: Interview with Cecilia Pérez-Grovas and Carolina Rivera
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• CHAPTER EIGHT •
The Creative Process of Collective Screenwriting, and the Standing of Screenplay in the Mexican Cinema Industry
Interview with Cecilia Pérez-Grovas and Carolina Rivera
Francisca Cecilia Pérez-Grovas was born (1951–) in Mexico City. She completed her BA in Spanish Literature at the National Autonomous University of Mexico (UNAM). She also studied screenwriting at the Film Training Center (CCC). As a student, she had the opportunity to take screenwriting courses from Gabriel García Márquez and other prominent writers, most notably Hugo Argüelles and Vicente Leñero. She began her writing career in 1995 on a high note when her screenplay Mermelada de higo [Fig Jam] was selected, enabling her to attend the Sundance screenwriting workshop. In 1997, she won the Ariel for best original screenplay for Cilantro y Perejil [Recipes to Stay Together] (1996). She wrote the script with Carolina Rivera with whom she shared the award.
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