Bøger af Paul Wells

The worst decade in the history of the Liberal Party of Canada came to an end on October 19, 2015.Justin Trudeau swept to power, ending the ten-year rule of Stephen Harper’s Conservatives. Trudeau’s vision was relentlessly optimistic: the word "positive" was heard eight times in his victory speech, along with references to "sunny ways" and "hope and hard work." But the fates decreed that he would govern in darker times. His rookie government, itself mainly staffed by rookies in federal politics, had to learn on the job in an age of polarization, misinformation, and pandemic, while dealing with the rise of Trump and Brexit, a newly belligerent China, and wars in Ukraine and the Middle East. The moment needed more than a young PM's abundant charm. And almost from the outset, Trudeau struggled to rise to the occasion.A decade after he published The Longer I’m Prime Minister, the definitive portrait of Stephen Harper in power, Paul Wells, one of Canada’s all-time great political writers, turns his attention to Justin Trudeau, a man of talent, ambition, and trust issues in a time of mistrust.

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Evaluates the depiction of animals in cartoons and animation. This title argues that artists use animals to engage with issues that would be more difficult to address directly because of political, religious, or social taboos.

Written for the modern reader, this work looks at atonement, which is at the heart of the Christian faith. It covers the subject in short chapters.

Examines the thinking process behind drawing, characters, composition and movement, narrative and adaptation. The author introduces the fundamental elements involved in producing drawn animation.

Animation: Genre and Authorship is an overview of the distinctive language of animation, its production processes, and the particular questions about who makes it, under what conditions and with what purpose. Arguably, animation provides the greatest opportunity for distinctive models of "auteurism" and revises generic categories. This is the first study to look specifically at these issues, and to challenge the prominence of live action movie-making as the first form of contemporary cinema and visual culture. Including extensive analysis of individual animators and their operation within studios such as Disney and Dreamworks, the book investigates the use of animation in genres from horror and science fiction to documentary and propaganda.

Paul Wells looks at animation in the United States afresh, discussing the distinctiveness of the cartoon form, and the myriad others types of animation production, insisting upon the 'modernity' of the form, and its crucial importance as a barometer of the social conditions in which it was made, and which it reflects.