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‘You Can See What Species I Belong to, but Don’t Treat Me Lightly’

Animal Life and the Moving Image

British Film Institute, 2015

Book chapter

4

... of liminal and compound states of construction in creature design and behaviour.Paul Wells, The Animated Bestiary: Animals, Cartoons and Culture (New Brunswick, NJ and London: Rutgers University Press, 2009). This analysis, will, therefore, reveal...

Plasmatic Pitches, Temporal Tracks and Conceptual Courts: The Landscapes of Animated Sport

Animated Landscapes : History, Form and Function

Bloomsbury Academic, 2015

Book chapter

4

... dealing with Virginia Woolf’s ‘moment of being’ and D. H. Lawrence’s ‘living moment’, right through to the ‘micro-narrative’ paradigm I have used in animation screenwriting,For a discussion of ‘micro-narrative’ see Paul Wells, ‘Boards, Beats,...
...In this essay I want to examine the ways in which the cult British film The Wicker Man (Robin Hardy, 1973) employs a hybrid musical soundtrack, composed by the New York-based musician Paul Giovanni, that merges the syntactical codes...

Woody, Buzz and the Koons Corollary ... Or Why Toy Story Is Art

Toy Story : How Pixar Reinvented the Animated Feature

Bloomsbury Academic, 2018

Book chapter

4

... meaning and affect is revealed through its use and reuse, demonstrating an oscillation between its status as a design idiom, its functional purpose, and its associative and symbolic implications and interaction’.Paul Wells, ‘Chairy Tales: Object...

Animation in the Gallery and the Gestalt

Global Animation Theory : International Perspectives at Animafest Zagreb

Bloomsbury Academic, 2019

Book chapter

3

... individual–sensualistic, positivistically–individualistically solitary venture of discoveryWe, however, who intend to do something for the people’s sake as well as for our own glory, have to concern ourselves a great deal with politics, and in a proper...

Experimental Animation

The Animation Studies Reader

Bloomsbury Academic, 2019

Book chapter

3

... does not include essential characteristics but rather tendencies. This list was first published in: Taberham, P. (2018). It is adapted from Paul Wells (1998: 36) and Maureen Furniss’s (2008: 30) discussions...

Cross-Media Stardom: Television/Film

Paul McDonald

Paul McDonald is Professor of Cultural and Creative Industries and Vice Dean (People & Planning) for Arts in the Faculty of Arts & Humanities at King’s College London, UK. He is the author of The Star System: Hollywood’s Production of Popular Identities (2000); Hollywood Stardom (2013) and Video and DVD Industries (BFI 2007). His co-edited volumes include, with Janet Wasko, The Contemporary Hollywood Film Industry (2008) and with Emily Carman, Eric Hoyt and Philip Drake, Hollywood and the Law (BFI 2015). He is the co-editor, with Michael Curtin, of the BFI series International Screen Industries. Author affiliation details are correct at time of print publication.

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George Clooney

British Film Institute, 2019

Book chapter

1

... Clooney had become ‘the man who anchors the show that anchors the night that anchors the network and anchors television’ (Friedman 1998). When Clooney decided to leave the series, he along with executive producer John Wells, Warner Bros....

Lawrence of Arabia: Sixteen Sequences and an Intermission

Paul Joseph Gulino

Paul Gulino is Associate Professor of Screenwriting at Chapman University, USA. Author affiliation details are correct at time of print publication.

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Screenwriting : The Sequence Approach

Bloomsbury Academic, 2004

Book chapter

2

... the film. Lawrence’s final retort is to insist that it is going to be fun, a dangling cause that hooks the sequence into the next one. Sequence B: The Journey to the Masturah Well An abrupt contrast—from a well-lit, interior close-up...