The primary girl to win the Finest Tailored Screenplay race was Frances Marion, a author, director, and journalist with a prolific filmography that bridged the hole between silent and sound movies. Marion received the highest writing prize (it was then simply referred to as Finest Writing) in 1931, on the third annual Oscars, for the MGM drama “The Massive Home.” Simply three years later, Sarah Y. Mason took residence the award for co-writing “Little Girls,” and in 1943, Claudine West earned the trophy for co-writing “Mrs. Miniver.”
However regardless of its auspicious begin, the Finest Tailored Screenplay class was not at all a bastion of gender fairness in Hollywood. After West, no girl took residence the prize for over 40 years. Throughout that point, the New Hollywood period and the rise of auteur idea made the artwork of writing and directing movies largely synonymous with a kind of white male “genius.” The dry spell was lastly damaged by Jewish author Ruth Prawer Jhabvala, who received twice for her takes on “A Room With A View” and “Howards Finish.” Within the ensuing a long time, Emma Thompson, Fran Walsh, Philippa Boyens, Diana Ossana, and Siân Heder would characterize girls screenwriters on the Oscar stage. Between Ossana, who received for the “Brokeback Mountain” script she penned with Larry McMurtry, and Heder, who received for “CODA,” stretches a spot of 16 years.