Enhanced descriptions from Syndetics:

Invented at the Walt Disney Studios in the early 1930s, the storyboard quickly became an essential in the planning of all forms of movies. Directors from Walt Disney to Hitchcock, from Fellini to Tim Burton, Orson Wells to Scorcese all made use of them. This gloriously illustrated work explores the art and craft of storyboarding as it was - and still is - performed by master artists at the Disney Studios offering an exciting, behind-the-scenes look at a crucial and intricate part of the animation process. Full colour art throughout.

Table of contents provided by Syndetics

• Introduction (p. ix)
• 1 Tell Us a Story (p. 1)
• 2 Birth of the Board (p. 5)
• 3 Walt as Storyman (p. 27)
• 4 Ted and the Boys: Animation's First Story Department (p. 63)
• 5 Gagsters Galore: Short Boards (p. 87)
• 6 Worlds to Conquer: Feature Boards (p. 127)
• 7 Bill Peet: Master Storyteller (p. 167)
• 8 Musical Boards (p. 187)
• 9 The Animator as Story Artist (p. 211)
• 10 New Boarders (p. 231)
• Notes (p. 262)
• Index (p. 267)
• Acknowledgments (p. 271)
• About the Author (p. 272)

Reviews provided by Syndetics

Library Journal Review

Canemaker's second volume on Disney animation (his first was Before the Animation Begins, LJ 11/15/96) covers new territory. Focusing on the birth and progression of the storyboard method, the noted animator/historian explores both the history and the personalities of the Disney storyboard department. He takes readers from the early Disney days (when Walt created the storyboard to add depth and substance to the animated shorts the early studio produced) to today (when ever-changing teams of story specialists gather material and prepare sequence drawings before artists flesh out those Disney masterpieces). Along the way, Canemaker reveals the human effort required to bring an animated film to life and throws in juicy tidbits garnered from his interviews with animation pioneers. Lavish illustrations accompany the text. Recommended for larger public libraries and essential for collections in film and animation history.ÄKelli N. Perkins, Herrick P.L., Holland, MI (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Booklist Review

Two out of three new Disney books come from Disney subsidiary Hyperion, and the bigger of the two, Paper Dreams, is the star of the trio. It is Canemaker's celebration of Disney's greatest contribution to filmmaking, the storyboard. Developed as a way of visually communicating a script, the storyboard has become a commonplace of filmmaking--and not just for animated films. Canemaker examines the creative processes of the Disney studio and profiles such individual talents as Bill Peet, Ted Sears, and--surprise!--Walt Disney, whom he presents as an artist rather than as an impresario. A veteran observer of animation and a gainfully employed academic, Canemaker delivers measured accolades that are far more impressive than the usual Disney corporate rah-rah. Canemaker even gives Disney's main Duck man, Carl Barks, rare extended notice for his storyboard work, which preceded his reign as the "King of the Comics" (books, that is). The illustrations Canemaker has chosen are superb and numerous; obviously, company backing really counts. The sequel to Mouse Tales (1994) is another behind-the-scenes look at Disneyland, full of much declared love for the Disney ethos. Little boxed features contain "tales of tourists gone on mental vacations" --an abundant source of humor--and affection permeates much of the rest, whether Koenig is recounting funny situations involving the ungainly costumes park performers wear or the tragedy of the "first person killed at Disneyland while just standing in line," which Koenig links to more profit-hungry than quality-minded park management. Contending that "Disneyland is held to a higher standard," Koenig suggests the need to rebuild staff morale, "remember that Disneyland is a show not a shop," and "return guests to their rightful place as Priority One." The slighter Hyperion offering is Smith and Clark's maximally illustrated, nostalgic romp through the company's first century. It seems calculated to regenerate devotion to the higher, wiser power that is Uncle Walt in adults and to confirm it in kids. The text notes the milestones in Disney's output (e.g., the release of Steamboat Willie) and less celebrated fare, such as the Oswald Rabbit series, too. --Mike Tribby