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Storyboarding, Spectacle and Sequence in Narrative Cinema

  • Chris Pallant
  • Steven Price
Chapter
  • 180 Downloads
Part of the Palgrave Studies in Screenwriting book series (PSIS)

Abstract

In 1993, Annette Michelson proposed that ‘the last half-century of [cinema]’s development [is] the period in which production design was largely characterized by the adoption of the storyboard’.1 This assertion sees the development starting in the late 1930s, if not a little later, and would tend to confirm the pivotal position of Walt Disney and William Cameron Menzies in the evolution of the form. As we have already seen, Menzies at least was already using similar methods long before this time, though this made him an innovator in methods of pre-production.

Keywords

Entire Film Narrative Cinema Bond Film Scottish Home Animation Process 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Annette Michelson, Drawing into Film: Directors’ Drawings (New York: Pace Gallery, 1993), p. 1.Google Scholar
  2. 3.
    Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 168.Google Scholar
  3. 4.
    Raphaël Saint-Vincent, ‘1992, Ou la Découverte du (Nouveau) Monde du Storyboard en France’, Storyboard 4 (June-August 2003), pp. 53–57.Google Scholar
  4. 5.
    For discussion of this point, see Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013), p. 178.CrossRefGoogle Scholar
  5. 6.
    Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), p. 169.Google Scholar
  6. 7.
    Kristina Jaspers, ‘Zur Entstehungsgeschichte und Funktion des Storyboards’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 13.Google Scholar
  7. 8.
    Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62.Google Scholar
  8. 10.
    John Hart, The Art of the Storyboard: A Filmmaker’s Introduction (Burlington, MA: Focal Press, 2008), p. 27.CrossRefGoogle Scholar
  9. 11.
    Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Henry Holt, 1996).Google Scholar
  10. 12.
    Katharina Henkel and Rainer Rother, ‘Vorwort’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 8.Google Scholar
  11. 15.
    Elizabeth Cowie, ‘Classical Hollywood Cinema and Classical Narrative’, in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1998), p. 178.Google Scholar
  12. 18.
    Katharina Henkel, ‘Zur Umsetzung von Gezeichneten in Bewegte Bilder: in Fimcheck’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 25.Google Scholar
  13. 19.
    Some of the major arguments on each side of this debate are conveniently presented in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1998); see in particular Richard Maltby, ‘“Nobody Knows Everything”: Post-Classical Historiographies and Consolidated Entertainment’, pp. 3–21, and Murray Smith, ‘Theses on the Philosophy of Hollywood History’, pp. 21–44.Google Scholar
  14. 20.
    William Goldman, Adventures in the Screen Trade (New York: Warner, 1983), p. 153.Google Scholar
  15. 21.
    David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985).CrossRefGoogle Scholar
  16. 22.
    Robert L. Carringer, The Making of Citizen Kane, 2nd edition. (Berkeley: University of California Press, 1996), p. 44.Google Scholar
  17. 26.
    Carringer, The Magnificent Ambersons: A Reconstruction (Berkeley: University of California Press, 1993), p. 35.Google Scholar
  18. 33.
    James Wong Howe, ‘Upsetting Traditions with Viva Villa’, American Cinematographer (June 1934), p. 64.Google Scholar
  19. 34.
    Dan Gagliasso, ‘Heir to a Tradition’, American Cowboy (July-August 2006), p. 72.Google Scholar
  20. 36.
    Andrew Horton, Henry Bumstead and the World of Hollywood Art direction (Austin: University of Texas Press, 2003), pp. 60–65, 90–92.Google Scholar
  21. 38.
    David Sylvester, Moonraker, Strangelove and Other Celluloid Dreams: The Visionary Art of Ken Adam (London: Serpentine Gallery, 1999), p. 14.Google Scholar
  22. 39.
    Laurent Bouzereau, The Art of Bond: From Storyboard to Screen: The Creative Process Behind the James Bond Phenomenon (London: Boxtree, 2006), p. 39.Google Scholar
  23. 40.
    For a detailed analysis, see Adrian Turner, Goldfinger (London: Bloomsbury, 1998), pp. 187–208.Google Scholar
  24. 44.
    See Paul Joseph Gulino, Screenwriting: The Sequence Approach (New York: Continuum, 2004).Google Scholar
  25. 45.
    Jürgen Berger, Production Design: Ken Adam: Meisterwerke der Filmarchitektur (Munich: L. Werner, 1994), p. 56.Google Scholar
  26. 46.
    Léon Barsacq, Caligari’s Cabinet and Other Grand Illusions: A History of Film Design, rev. Elliott Stein (New York: Little, Brown, 1976), p. 165.Google Scholar
  27. 50.
    Bouzereau, op. cit.; Paul Duncan (ed.), The James Bond Archives: 007 (Cologne: Taschen, 2012).Google Scholar
  28. 51.
    Numerous examples of Harryhausen’s early input during the development of film projects can be found in Ray Harryhausen and Tony Dalton’s Ray Harryhausen’s Fantasy Scrapbook: Models, Artwork and Memories from 65 Years of Filmmaking (London: Aurum, 2011).Google Scholar
  29. 52.
    For more discussion of the Dynamation process, see Ray Harryhausen and Tony Dalton, Ray Harryhausen: An Animated Life (London: Aurum, 2009), p. 121.Google Scholar
  30. 53.
    Ray Harryhausen and Tony Dalton, The Art of Ray Harryhausen (London: Aurum, 2011), p. 101.Google Scholar
  31. 54.
    For a more detailed discussion of the instrumental role played by physical landscapes in the shaping of stop-motion animation, see Chris Pallant, ‘The Stop-Motion Landscape’, in Chris Pallant (ed.), Animated Landscapes: History, Form, and function (New York: Bloomsbury Academic, 2015), pp. 33–49.Google Scholar
  32. 56.
    Michael Carreras, One Million Years B.C. (London: Hammer; Seven Arts Productions, c. 1965), p. 68 -The Ray & Diana Harryhausen Foundation Archives.Google Scholar

Copyright information

© Chris Pallant and Steven Price 2015

Authors and Affiliations

  • Chris Pallant
    • 1
  • Steven Price
    • 2
  1. 1.Canterbury Christ Church UniversityUK
  2. 2.Bangor UniversityUK

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