This paper examines storyboarding as both a technical tool and
an aesthetic form, focusing on its sequential, multimodal, and
transmedial dimensions. The analysis highlights how storyboards
by directors such as Kurosawa, Varda, Miyazaki, and Anderson
showcase their varied functions and forms. Far from being a
mere preparatory tool, the storyboard incorporates and reworks
heterogeneous languages – from comics to animation, from photography to drawing – establishing itself as an experimental
space that redefines the relationship between ideation and production, and between the static image and cinematic flow. Thus,
the storyboard emerges as a truly transmedial device that makes
visible the generative processes of moving images and offers a
privileged site for reflecting on cinema’s intermedial nature.
