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Notes Introduction 1 . 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. 15. We are indebted to Julia Knaus for all translations from the original German of this book. 2 . Jean-Claude Carrière, The Secret Language of Film , trans. Jeremy Leggatt (London: Faber, 1995), p. 150. 3 . Nathalie Morris, ‘Unpublished Scripts in BFI Special Collections: A Few Highlights’, Journal of Screenwriting 1.1 (2010), pp. 197–198. 4 . Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 9. 5 . Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), pp. 67, 117. 6 . See Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013). 7 . 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. 8 . Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62. 9 . Halligan, p. 8. 10 . John Hart, The Art of the Storyboard: Storyboarding for Film, TV, and Animation (Boston: Focal Press, 1999), p. 5. 11 . Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 120. 12 . Maras, p. 123. 13 . Kathryn Millard, ‘The Screenplay as Prototype’, in Jill Nelmes (ed.), Analysing the Screenplay (London: Routledge, 2011), p. 156. Millard develops related arguments in ‘After the Typewriter: The Screenplay in a Digital Era’, Journal of Screenwriting 1.1 (2010), pp. 11–25, and in Millard, Screenwriting in a Digital Era (Basingstoke: Palgrave, 2014). 14 . In addition to Maras and Millard, on this point see also Steven Price, The Screenplay: Authorship, Theory and Criticism (Basingstoke: Palgrave, 2010), pp. 46–47. 15 . Jaspers, p. 12. 16 . Hart, p. 1. 17 . Hart, p. 3. 18 . Hart, pp. 3–4. 19 . See, for example, Andreas C. Knigge, ‘“Watch Me Move”: Über die Beziehung zwischen Storyboards und Comics’, in Katharina Henkel, Kristina Jaspers, 179 180 Notes and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 18. 20 . Michael Farr, The Adventures of Hergé: Creator of Tintin (London: John Murray, 2007), p. 59. 21 . Farr, p. 73. 22 . Jean-Marc and Randy Lofficier, The Pocket Essential Tintin (Harpenden: Pocket Essentials, 2002), p. 90. 23 . Tony Tarantini interview with Chris Pallant, 25 July 2015. 24. LoBrutto, p. 62. 25 . Jaspers, p. 13. 26 . Edwin G. Lutz, Animated Cartoons (New York: Charles Scribner’s Sons, 1920), p. 60. 27 . Edward Carrick, How To Do It Series Number 27: Designing for Films (London and New York: The Studio Publications, 1949), p. 14. 28 . Tony Tarantini, ‘Pictures That Do Not Really Exist: Mitigating the Digital Crisis in Traditional Animation Production’, Animation: Practice, Process, and Production 1.2 (2011), pp. 257–261. 29 . Tarantini, p. 258. 30 . Rex Grignon interview with Chris Pallant, 16 June 2014. 31 . Frank Gladstone interview with Chris Pallant, 2 August 2013. 32 . Jaspers, p. 13. 33 . Kristina Jaspers, Zwischen Film und Kunst. Storyboards von Hitchcock bis Spielberg – Exhibition Guide (Berlin: Deutsche Kinemathek, 2011) p. 6. 34. Accessed 9 January 2015, retrieved from http://www.moleskine.com/gb/ collections/model/product/storyboard-notebook-large . 35 . All of the these examples are based on the authors’ review of the original documents held at the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Research Library (MHL). 36 . Jaspers, p. 13. 37 . Vladimir Nilsen, The Cinema as a Graphic Art: On a Theory of Representation in the Cinema (New York: Hill and Wang, 1936); see also Jaspers, p. 3. 38 . Jaspers, p. 3. 39 . Jay Leyda and Zina Voynow, Eisenstein at Work (New York: Pantheon, 1982), p. 24. 40 . Halligan, p. 6. 41 . Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film un d Kunst: Storyboards von Hitchcoc k bis Spielberg (Bielefeld: Kerber, 2012). 42 . Steve Wilson, The Making of Gone with the Wind (Austin: University of Texas Press, 2014). 43 . Accessed 10 April 2015, retrieved from http://www.blu-ray.com/movies/ Alien-Anthology-Blu-ray/5090/#Review . 1 The Pre-History of Storyboarding 1 . Edward Azlant, The Theory, History, and Practice of Screenwriting, 1897–1920 , diss. (Ann Arbor, MI: University Microfilms International, 1980), p. 65. 2 . Ann Martin and Virginia M. Clark, What Women Wrote: Scenarios, 1912–1929 (Frederick, MD: University Publications of America, 1987), p. v. 3 . Martin and Clark, p. vi. 4 . For a fuller discussion of the relationship between copyright and early American screenwriting, see Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013), pp. 36–51. Notes 181 5 . Vivian Halas and Paul Wells, Halas & Batchelor Cartoons: An Animated History (London: Southbank, 2006), p. 124–29. 6. Philip Brookman, Eadweard Muybridge (London: Tate Publishing, 2010), pp. 86–87. 7 . For example: Bruce Kawin’s How Movies Work (1992), John Hart’s The Art of the Storyboard: Storyboarding for Film, TV, and Animation (1999) and The Art of the Storyboard: A Filmmaker’s Introduction (2008), and Wendy Tumminello’s Exploring Storyboarding (2005). 8 . Speaking at the ‘Storyboarding: Text-Image-Movement’ conference, held at the Deutsche Kinemathek, Berlin in July 2015, Jens Meinrenken, as part of his paper ‘Sequential Art: The Relationship between Comic, Storyboard and Film’, noted how Méliès’s notoriety as a cartoonist contributed to this ambi- guity, with the artist willingly responding to requests to reproduce drawings from his films, sometimes many years after their initial release. 9. Due to publisher restraint we are only able to reproduce this image in black and white. This same limitation also prevents the colour reproduction of Figures 1.6, 1.7, 2.1, 3.2, 4.6, 6.3, 6.4, 7.1–7.8. 10 . Jacques Malthête and Laurent Mannoni, L’Œuvre de Georges Méliès (Paris: Éditions de La Martinière, 2008), pp. 136–203. 11 . Harvey Deneroff, ‘A Trip to the Moon: Back in Color’, Comments and Thoughts on Animation and Film , retrieved from http://deneroff.com/blog/2011/05/10/ a-trip-to-the-moon-back-in-color/ , accessed 10 January 2015. 12 . Serge Bromberg and Eric Lange, L a Couleu r Retrouvée du Voyag e dans l a Lune/A Trip to the Moon Back in Color (no place: Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage, 2011), p. 77. 13 . Randy Duncan and Matthew J. Smith, The Power of Comics: History, Form and Culture (New York: Continuum, 2009), p. 4. 14 . Pascal Lefèvre, ‘Incompatible Visual Ontologies? The Problematic Adaptation of Drawn Images’, in Ian Gordon, Mark Jancovich, and Matthew P. McAllister, (eds), Film and Comic Books (Jackson: University Press of Mississippi, 2007), p. 2. 15 . Scott McCloud, Understanding Comics: The Invisible Art (New York: HarperCollins, 1994), p. 7. 16 . McCloud, p. 66. 17 . Gilbert Seldes, ‘Golla, Golla, the Comic Strips Art! An Aesthetic Appraisal of the Rubber-Nosed, Flat-Footed Little Guys and Faerie Monsters of the Funnies’, Vanity Fair (May 1922), p. 71. 18 . Paul Wells, Understanding Animation (London: Routledge, 1998), p. 17. 19 . Donald Crafton, Before Mickey: The Animated Film 1898–1928 (Chicago: University of Chicago Press, 1993), p. 37. 20 . Crafton, p. 37. 21 . Seldes, p. 108. 22 . Crafton, p. 178. 23 . David Nasaw, The Chief: The Life of William Randolph Hearst (London: Gibson Square, 2002), p. 257. 24 . Ibid. 25 . Sophie Geoffroy-Menoux, ‘Enki Bilal’s Intermedial Fantasies: From Comic Book Nikopol Trilogy to Film Immortals (A d Vitam) ’ in Film and Comic Books , (eds.) Ian Gordon, Mark Jancovich, and Matthew P. McAllister (Jackson: University Press of Mississippi, 2007), p. 268. 26 . Winsor McCay, Winso r McCay: Littl e Nemo 1905–1914 (Köln: Evergreen, 2000), p. 33. 182 Notes 27 . John Canemaker, Winso r McCay: His Life and Art (New York: Abbeville Press, 1987), p. 133. 28 . McCay, p. 42. 29 . Scott Bukatman, The Poetics o f Slumberland: Animated Spirits and the Animating Spirit (Berkeley: University of California Press, 2012), p. 104. 30 . Lefèvre, p. 2. 31 . Phil A. Koury, Yes, Mr . DeMille (New York: G.P. Putnam’s Sons, 1959), p. 26. 32 . The Squaw Man , ‘Full Cast and Crew’ IMDB , accessed 5 April, 2015, retrieved from http://www.imdb.com/title/tt0004635/fullcredits?ref_=tt_ov_st_sm . 33 . Robert S. Birchard, Cecil B . DeMille’s Hollywood (Lexington: University of Kentucky Press, 2004), p. 21. 34 . Robert M. Henderson, D.W. Griffith: His Life and Work (New York: Garland Publishing, 1985), p. 201. 35 . David A. Cook, A History of Narrative Film (New York: Norton, 2008), p. 81. 36 . Karl Brown, Adventures with D.W. Griffith (London: Faber, 1988), pp. 87–88. 37 . Richard Schickel, D.W. Griffith (London: Pavilion, 1984), p. 391. 38 . Variety Staff, ‘Review: “Broken Blossoms – Or the Yellow Man and the Girl”’ Variety , 31 December 1918, accessed 12 January 2015, retrieved from http:// www.variety.com/review/VE1117789562?refcatid=31 . 39 . Brown, p. 192. 40 . Henderson, p. 201. 41 . Henderson, p. 201, emphasis added. 42 . Brown, p. 226. 43 . Schickel, p. 391. 44 . Dan Torre and Lienors Torre, ‘From Animated Sketches to Animation Empire: The Pioneering Years of Australian Animation (1900 – 1930)’, forthcoming in Senses of Cinema 77 (November 2015). 45. Vladimir Nilsen, The Cinema as a Graphic Art (New York: Hill and Wang, 1936), p. 159. 46 . Jay Leyda and Zina Voynow, Eisenstein at Work (New York: Pantheon, 1982), p. 36. 2 Storyboarding at Disney 1 . Ronald Haver, David O. Selznick’s Hollywood (New York: Knopf, 1980), p. 246. 2 . Christopher Finch, The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms (New York: Harry N.
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