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.
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Notes
Annette Michelson, Drawing into Film: Directors’ Drawings (New York: Pace Gallery, 1993), p. 1.
Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 168.
Raphaël Saint-Vincent, ‘1992, Ou la Découverte du (Nouveau) Monde du Storyboard en France’, Storyboard 4 (June-August 2003), pp. 53–57.
For discussion of this point, see Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013), p. 178.
Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), p. 169.
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.
Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62.
John Hart, The Art of the Storyboard: A Filmmaker’s Introduction (Burlington, MA: Focal Press, 2008), p. 27.
Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Henry Holt, 1996).
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.
Elizabeth Cowie, ‘Classical Hollywood Cinema and Classical Narrative’, in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1998), p. 178.
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.
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.
William Goldman, Adventures in the Screen Trade (New York: Warner, 1983), p. 153.
David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985).
Robert L. Carringer, The Making of Citizen Kane, 2nd edition. (Berkeley: University of California Press, 1996), p. 44.
Carringer, The Magnificent Ambersons: A Reconstruction (Berkeley: University of California Press, 1993), p. 35.
James Wong Howe, ‘Upsetting Traditions with Viva Villa’, American Cinematographer (June 1934), p. 64.
Dan Gagliasso, ‘Heir to a Tradition’, American Cowboy (July-August 2006), p. 72.
Andrew Horton, Henry Bumstead and the World of Hollywood Art direction (Austin: University of Texas Press, 2003), pp. 60–65, 90–92.
David Sylvester, Moonraker, Strangelove and Other Celluloid Dreams: The Visionary Art of Ken Adam (London: Serpentine Gallery, 1999), p. 14.
Laurent Bouzereau, The Art of Bond: From Storyboard to Screen: The Creative Process Behind the James Bond Phenomenon (London: Boxtree, 2006), p. 39.
For a detailed analysis, see Adrian Turner, Goldfinger (London: Bloomsbury, 1998), pp. 187–208.
See Paul Joseph Gulino, Screenwriting: The Sequence Approach (New York: Continuum, 2004).
Jürgen Berger, Production Design: Ken Adam: Meisterwerke der Filmarchitektur (Munich: L. Werner, 1994), p. 56.
Léon Barsacq, Caligari’s Cabinet and Other Grand Illusions: A History of Film Design, rev. Elliott Stein (New York: Little, Brown, 1976), p. 165.
Bouzereau, op. cit.; Paul Duncan (ed.), The James Bond Archives: 007 (Cologne: Taschen, 2012).
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).
For more discussion of the Dynamation process, see Ray Harryhausen and Tony Dalton, Ray Harryhausen: An Animated Life (London: Aurum, 2009), p. 121.
Ray Harryhausen and Tony Dalton, The Art of Ray Harryhausen (London: Aurum, 2011), p. 101.
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.
Michael Carreras, One Million Years B.C. (London: Hammer; Seven Arts Productions, c. 1965), p. 68 -The Ray & Diana Harryhausen Foundation Archives.
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© 2015 Chris Pallant and Steven Price
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Pallant, C., Price, S. (2015). Storyboarding, Spectacle and Sequence in Narrative Cinema. In: Storyboarding. Palgrave Studies in Screenwriting. Palgrave Macmillan, London. https://doi.org/10.1057/9781137027603_5
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