The Writers: A History of American Screenwriters and Their Guild (67 page)

White Heat
,
96
,
129

Why We Fight
,
78

Widdifield, Ann,
210

widescreen,
139

Wilber, Carey,
168
,
183
,
264

Wilder, Billy,
39
,
42
,
121
,
155
,
164
,
234
,
264

Wilk, Max,
14

Wilkerson, William R.,
53
,
92
,
102–103
,
129

Williams, Mark,
266

Willimon, Beau,
264

Wilmore, Larry,
219
,
264

Wilson, Carey,
42
,
264

Wilson, Michael,
24
,
112
,
114
,
115
,
264

Winchester ’73
,
108

Winged Victory
,
38

Winship, Michael,
220
,
221–222
,
225
,
228
,
233
,
264

Wire, The
,
237

Wizard of Oz, The
,
60

Wodehouse, P. G.,
38
,
55
,
264

Wolfson, Roger,
222–223
,
264

Woman in the Window, The
,
36

Women, The
,
32

Women’s Caucus (WGA),
184

Wood, Audrey,
88

Wood, Bob,
175

Wood, Sam,
84

Woods, Frank E.,
160
,
264

work-for-hire practice,
12
,
19
,
160
,
237

World War II,
63–64
,
72
,
73–79
,
81–82
,
89
; veterans and SWG,
85
,
87

writer-directors,
55
,
89
,
144
,
157
,
162
,
164
,
226
; African American,
183
,
184
; WD-40,
226

writer-producers,
121
,
140
,
144–145
,
150–152
,
156
,
166
,
168–169
,
171
,
192
,
218

Writers, the (club),
33
,
34
,
39

Writers Guild Foundation,
75
,
135
,
143
,
289n67

Writers Guild Library,
266
,
289n67

Writers Guild of America (WGA, WGAE, WGAw): Contract Adjustments Committee (CAC),
191
,
209
; formation,
134–135
,
150
; functions and role,
1–2
,
8–11
,
16–18
,
137
,
152
,
189
,
191
,
197
,
227
,
235
,
294n43
; hyphenates and,
157–158
,
164–165
,
168–171
,
183
; international efforts,
240–241
; newsletters,
155
,
182
,
184
,
188
; in 1970s and 1980s,
157–171
,
179–191
; in 1990s and 2000s,
195–230
,
240–242
; opposition to deregulation,
201–202
; Political Action Committee,
217
; possessory credit negotiations,
161–165
; producer representation,
152
; pseudonym stipulations,
161
; responses to new media industries and platforms,
137–138
,
140
,
198–199
,
203–207
,
217–218
,
229
,
235
; television’s bargaining power,
239–240
; “Union Blues,”
188–189
; WGAE and WGAw branches,
9
,
123
,
134–135
,
137
,
149
,
159
,
187
,
195–197
,
210
,
211
,
212–214
,
216
,
220–221
,
230
,
240
; women and minorities,
150–151
,
179–184
,
235–236
; Women’s Committee,
181–182
; Writer Access Project,
236
.
See also
screenwriters; Screen Writers Guild of America; strikes

Writers Guild Oral History Project,
24–25
,
157
,
262
,
272n66

Writers United,
211
,
212–213

Writers War Board,
75

Wyatt, Justin,
153

Wyler, William,
99
,
100

Yglesias, Raphael,
219
,
264

Ylse
,
229

Yorkin, Bud,
156–157
,
177

You Are There
,
111

You Bet Your Life
,
134

Young, David,
213
,
218
,
227

Young, Nedrick,
112
,
114
,
264

Young, Waldemar,
35
,
264

Young Adult
,
237

Young Mr. Lincoln
,
86

Your Show of Shows
,
128
,
141

Your Show Time
,
122

YouTube,
211–212
,
214
,
225

Zane Grey Theater
,
8

Zanuck, Darryl F.,
79
,
82
,
89
,
98
,
100

Ziegfield Follies
,
40

Zucker, Jeff,
226

Zweibel, Alan,
235
,
264

ABOUT THE AUTHOR

MIRANDA J. BANKS
is an assistant professor of Visual and Media Arts at Emerson College, where she teaches film and television history and media industries studies. She is co-editor of
Production Studies: Cultural Studies of Media Industries
(2009). Her work has appeared in
Television & New Media, Popular Communication
, and
Montage/AV
. She studied at Stanford University as an undergraduate and earned her MA and PhD from the Department of Film, Television, and Digital Media at UCLA.