Sunday, July 20, 2014

Download PDF After Europe, by Ivan Krastev

Download PDF After Europe, by Ivan Krastev

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After Europe, by Ivan Krastev

After Europe, by Ivan Krastev


After Europe, by Ivan Krastev


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After Europe, by Ivan Krastev

Review

"Ivan Krastev's elegant and insightful volume establishes him as the most brilliant and iconoclastic thinker on Europe's future. This short aphoristic volume turns many of the established ways of looking at Europe on their head, bringing added depth to discussions of populism and Europe's political counterrevolution. At a time of pessimism, Krastev ends in a strangely optimistic way with his paean to the legitimacy that can come from the very act of survival."—Mark Leonard, European Council on Foreign Relations"Ivan Krastev's beautifully lucid After Europe packs an enormous amount of wisdom into a very short space. He helps us to understand the hostility to the European ideal in the UK and across the channel and to think about the challenges facing the EU in the near future."—Raymon Tallis, TLS books of the year"Krastev is one of Europe's most interesting public intellectuals. In what is essentially a long essay he argues that the refugee crisis threatens to widen the gap between elites and voters in ways that threaten the future of the entire European project."—Gideon Rachman, Financial Times"Satisfyingly intelligent on our predicament or predicaments."—Michael Hoffman, TLS books of the year"Few people question the conventional wisdom like Ivan Krastev."—George Soros"Written with the author's characteristic verve, this bracing book offers a fresh understanding of the current crisis in Europe. Motivated by apprehension yet tinged with realistic optimism, it powerfully highlights why clashing solidarities, declining compassion, resurgent nationalism, and growing geographic divisions demand creative, perhaps surprising, acts of democratic guardianship."—Ira I. Katznelson, author of Fear Itself: The New Deal and the Origins of Our Time"To read this book is to be in the company of one of the great European minds of today. With his characteristic combination of perceptiveness and sympathy, Ivan Krastev gives us in this learned essay just what we need to understand Europe's crisis—and to contemplate our own."—Timothy Snyder, Yale University"Ivan Krastev is one of the sharpest and most elegant political writers to emerge from eastern Europe in recent years. In this slim volume, which is a treasure chest of striking observations and colorful vignettes, the Bulgarian commentator brings a distinctly East European sense of tragedy to Europe's multiple crises."—Sunday Times"Ivan Krastev is one of the most interesting thinkers of our time. A juggler of paradoxes, an assailer of conventional wisdoms—you may not always agree but you will never be bored. At once an antidote to foolish optimism and to resigned pessimism, this fascinating meditation on the collapse of Europe as we know it is classic Krastev."—Robert Kagan

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About the Author

Ivan Krastev is Chair of the Center for Liberal Strategies in Sofia, Bulgaria, and a permanent fellow at the Institute for Human Sciences, Vienna. He is a contributing opinion writer for the International New York Times and author of Democracy Disrupted: The Politics of Global Protest, also available from the University of Pennsylvania Press.

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Product details

Hardcover: 128 pages

Publisher: University of Pennsylvania Press (May 8, 2017)

Language: English

ISBN-10: 0812249437

ISBN-13: 978-0812249439

Product Dimensions:

5.7 x 0.7 x 8.6 inches

Shipping Weight: 10.4 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

13 customer reviews

Amazon Best Sellers Rank:

#527,265 in Books (See Top 100 in Books)

Ivan Krastev is Bulgarian and is described on the dust jacket as “one of Europe’s leading thinkers.” Krastev also writes op-ed columns for the New York Times. In a subtle way, “After Europe” questions the purpose of the EU. The organization is becoming more powerful and it may have outlived its usefulness.Krastev is concerned that the EU could disintegrate and believes that its problems started with Merkel’s decision to allow over a million Syrian refugees to settle in Europe. He believes that Europe is governed by an out-of-touch elite which doesn’t listen to ordinary people, especially on topics like immigration. The rise of new nationalistic parties in Germany, France, and Italy indicates that the post-war Western European consensus is starting to break-down. Brexit had little to do with the Syrian refugees, it had been brewing since Margaret Thatcher’s Euroscepticism forced her out of office in 1990.Krastev compares the EU to the Habsburg Empire, which was dismantled in 1919. The EU’s bureaucracy is trying to create something similar. The EU has served a useful purpose in bringing countries together, but Krastev does not explain why the EU is still needed. To euro enthusiasts, its value is self-evident but is there a need for deeper political union given the cultural and economic differences between member states? The centralization of power has gotten Europe into trouble in the past and the EU was supposed to be a new beginning. The EU now wants its own army and European empires like to be obeyed. I have found the threats emanating from Brussels during the Brexit negotiations disturbing. Former Treasury Secretary, Tim Geithner claims that the EU wanted American support to remove the Italian president Silvio Berlusconi in 2011. Berlusconi claims he was ousted in a coup. An EU army may not be a good idea.The EU has helped reintegrate the Warsaw Pact countries which were looking for a home after the demise of the Soviet Union. Britain did a lot to promote the EU’s enlargement and ironically it is now leaving because of the extra budget payments and disruptive immigration. The eastern countries are becoming more confident and are starting to question the rules of the club. The EU wants to grow and is always on the lookout for new members. The EU’s courtship of Ukraine allowed Germany to assume geopolitical leadership of Europe for the first time since 1945. Jean-Claude Juncker, president of the EU Commision, now wants the EU to expand into the Balkans.Krastev argues that to survive the EU needs to retain the free movement of people, democracy, the euro, and the European Court of Human Rights. The Human Rights Court actually has nothing to do with the EU, it is not an EU court. The free movement of people is controversial in a community of 510 million people where there are big differences in living standards. It has caused a brain drain in the east. He points out that a Bulgarian nurse can earn seven times as much in London. Over two million Bulgarians are living abroad in a country with a population of seven million. He believes Bulgaria, is facing a potential collapse of the nation as so many young people leave to work and live abroad.This westward movement of people has also caused friction in the West. There are now one million Poles living in the UK. The Poles are cheap and hard-working, but their presence deprives Britons of work. They are entitled to free medical care and this has caused a strain on the health service. For Britons, immigration from Eastern Europe was a major issue in the Brexit debate. Many feel that too much immigration is changing the culture of the country. However, the affluent and big business, extol the benefits of cheap immigrant labor.As for the euro. The American Nobel prize winner and Columbia professor, Joe Stiglitz, has claimed that it can only work as a currency if the EU becomes more integrated, just like the U.S. Economic decisions must be taken centrally and transfer payments made, between the richer and poorer regions. For example, in the U.S., taxes from Massachusetts help subsidize Mississippi. This seems unlikely to happen in the EU; the frugal Germans don’t want to hand over more of their taxes to spendthrift southern Europeans. For everyone, apart from the Germans, the euro has been a disaster. German exports are about 20% undervalued and this helps their export-led economy. However, Italy has enjoyed zero economic growth since it joined the euro in 1999. As a currency, the euro is fundamentally flawed, and logic would dictate it can’t survive long term. In the recent Italian election, many populist politicians were demanding that the country withdraws from the euro.Large parts of Europe have limited experience of democracy. Even France had a coup in the late 1950s and installed de Gaulle as a de facto dictator. In Eastern Europe, the people have often preferred order to democracy. Russia tried democracy under Yeltsin, but the economic chaos made Putin’s authoritarianism seem attractive. Putin is surprisingly popular in Russia. Russians still regard Stalin as the greatest person in history, despite the millions he killed. Mark Mazower, who teaches at Columbia, has written a fascinating book called “Dark Continent” on Europe’s historically ambivalent attitude to democracy and its willingness to embrace totalitarianism. Most European countries are used to authoritarian leaders, liberal democracy is a recent development.The pooling of sovereignty in the EU is increasingly at odds with national sovereignty and democracy. Voters in Britain often have little say on new laws and they often resent it. Britain did decline to join the euro because it believed it was a stupid idea and it would wreck its economy. Smaller member states are expected to do what they are told. Polish social values are still influenced by the Catholic church. Its traditional views on moral issues, like abortion and gay marriage, often clash with the more progressive views popular in Western Europe.Countries like Hungary are keen to preserve their distinctive national culture and are often accused of racism because they fear too much immigration. Hungary was defeated at the Battle of Mohacs in 1526 by a Muslim army and lost its independence. It has been told by the EU that it must embrace Muslim immigration. President Orban of Hungary is another popular authoritarian who recently won two-thirds of the seats in the recent parliamentary elections. President Macron of France has recently spoken of a future European civil war between the authoritarians in the East (e.g., Poland and Hungary) and the West because he claims they are renouncing liberal democracy.Greece found itself under EU control after the financial crises and its leader replaced. As a result of the EU's insane economic policies, Greece lost 30% of its GDP. Its unemployment rate is still over 20%. Italy, Spain, and France have also suffered low economic growth and high unemployment since the crises. According to Krastev, they all have political parties that blame an alliance between “cosmopolitan-minded elites and tribal-minded immigrants” for their problems.Krastev writes from an Eastern European perspective. He has a chapter called “We the Europeans” but Bulgaria has only been a member of the EU since 2007 and it has not been allowed to join the eurozone. Eastern Europe’s history has been very different from the West. Bulgaria was a member of the Warsaw Pact until 1992 and fought on the German side in both world wars. It was ruled by Muslims for five centuries and was eventually liberated in 1908. Most Britons know little about countries like Bulgaria. Krastev wants to believe that all EU countries share a common bond and destiny. The reality is that the countries often have little in common.A minority of voters in Western Europe want a federal Europe. Macron has admitted that if the French people were given a referendum on leaving the EU they would vote to leave, that is why he can’t allow it to happen. Polls in the UK show that only 8% of Britons want further EU integration and only 3% want a federal Europe. Even in Germany, the idea of a federal Europe is unpopular, so Merkel has avoided discussion of further integration.Many EU countries face long-term problems caused by immigration and the euro. The book is at least willing to discuss some of them. There needs to be a consensus on the future of the EU, but the elites don't want to ask the people, because they won’t like the answer. I agree with Krastev that the primary loyalty of Europe's elites seems to be to the EU. They have more in common with each other than with their fellow countrymen.

If politics is not your forte, but you'd like to understand what's going on in Europe (or isn't happening, but should, if you prefer), this is a book for you. Although the message of this book is not exactly what I am suggesting here, the conclusions for an average person could be summarized as follow. If you are an European living in the US, this book should put to rest your impulse to go back. If you are an European living in one of the countries that are (still) part of the European Union, probably you should think twice (or you should call your government). If you are an European living outside of the EU and would like to emigrate, you should carefully make your choice. If you are an European and would like to emigrate to Canada, don't bother; it's the same. The last is a personal opinion.The author is world renowned philosopher and one of the 100 most influential people in the world.

Ivan Krastev has recently been picked up by The New York Times as an editorial monthly contributor an indication he is worth hearing. In this short work he shows that there are conflicting forces developing within the EU and their origins but does not see then as necessarily destructive. One of the most interesting being how different the post-Soviet states and their populations view what was the unifying core of the EU’s Western Liberal Democratic Institutions, and a general trust in governing procedures, as membership has shifted eastward to illiberal democracies lacking that trust.To this he adds all the factors buffing up Populist parties some of which now are in power. This is the major thrust of the work and supporting views generally lacking in the western media; although Populism since Trump’s election has its coverage.This is an informative and entertaining read. If it has a weakness it is not leaning into the economic policies of Austerity that have opened divisions along north-south lines and buffered all states; he covers such lightly and those stories are told elsewhere.*For eastern Europeans the economics of the EU has had a different impact, the depopulation of countries encouraged by monetary motivations, an early immigration problem in for example GB not mentioned by the author.The unyielding responses to Brussels demands for the current refugee crisis particularly in Hungry and the rising of Walls where there were none, point to problems that call for changing notions of governing: ‘the EU a less powerful influence over their nations.’This may be a constant in his journalistic works to come and making the EU into a better fit for the world that seems to be forming pulling the Center dramatically further Eastward.Krastev can deal with that one suspects.As he writes: “…we need to leave behind our naïve hopes and expectations about the future shape of Europe and the world.” pp. 9-10No instant answers, but solutions likely strengthen now by the story of ‘Brexit.’5 Stars*One of the best focusing on the EU, Mark Blyth, Austerity: The History of a Dangerous Idea.

The smartest and most informed book on Europe from an intellectual who actually lives there (in Bulgaria). The news about Europe is not good, but the messenger is concise, erudite, deep, and truthful. This book is scary, but it is also enlightening, interesting, and does justice to Europe and to its readers.

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Saturday, July 19, 2014

Download PDF , by Jeph Loeb

Download PDF , by Jeph Loeb

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, by Jeph Loeb

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Download PDF , by Jeph Loeb

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, by Jeph Loeb

Product details

File Size: 142981 KB

Print Length: 400 pages

Publisher: DC Comics (February 18, 2014)

Publication Date: February 18, 2014

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B00I3OIEGM

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I would not consider myself a comic-book person per se. I know that there are a great many fans of Batman that have read most if not all the comics and are experts on the story lines. That is not me. What I love about this book, as well as The Long Halloween is that these are very well told stories meant for adult readers. This is not a "kids" book and Batman comes alive on the page better than he does on screen. The mood is dark and ominous and given who Batman is and what Gotham is I think that is exactly the tone these comics should set. Loeb and Sale have created a graphic novel that I think can stand on its' own with any works of fiction on the market today.

First off, I have to be fair. I have only read this graphic novel twice and each time it was in the collected edition and each time immediately after reading the Long Halloween, so I have not read it truly as a stand alone book, nor did i reach each issue as they came out. Secondly, it is harder than anything to write a good sequel, especially when you are writing a sequel to something like the Long Halloween, which was gripping, entertaining, and full of good plot. Loeb and Sale do a good jobber, bringing back the surviving characters from Long Halloween (like people would want), with some new players as well. The plot seems a bit recycled (although this time it is a cop killed every month instead of a gangster and the murders are based on the game of hangman instead of themed on a holiday that takes place that month.) I guess what gets me is that the characters are all pretty much the same. Batman constantly is referring to the vow he took on his parent's death, Gordon is missing Harvey Dent and he lives to work not works to live so his life is in the shitter. Catwoman is 1 part costume adventurer, 1 part snarky, one part coquette in equal measure, etc. They could have brought Robin in sooner and then used him for what why he was originally created: give Batman someone to talk to and take the edge off the character. I am not a huge fan of the art, either, but then it is dynamic (no pun intended) at times. I just feel that for the most part, it goes over the same old ground almost verbatim to the Long Halloween. With the exception of Robin, it doesn't really widen the particular world for Batman that they created. If you have never read it, you'll probably like it. If you have read Long Halloween but not this story I would still say it is required reading.

READ "THE LONG HALLOWEEN FIRST"! That's a must before reading this. It's the sequel of the best Batman story every told and it holds up on its own. The Robin stuff is a little rushed, but it's still fantastic. Couldn't put it down.

Jeph Loeb strikes Batman gold again with his equally complex and impressively plotted comic book sequel to The Long Halloween: Dark Victory. Dark Victory is gorgeous with TLH was with Tim Sale's ever improving artwork, shadowplay, and his art giving clues to the noir mystery in the main arc. Loeb concludes the Holiday arc while introducing the Hangman arc all while building Batman's world of gangsters, supervillains, police, and attorneys. It's all quite remarkable that Loeb made a sequel as well made as his opus The Long Halloween. I highly recommend this graphic novel!

Beyond the fact that it shipped in a decent amount of time and arrived in good condition, Batman: Dark Victory is a good purchase for those fans of Jeph Loeb's other Batman story, The Long Halloween. Thematically, this book builds on what was already established in the previous work without any of the contrivances that plagued Long Halloween ie the holiday gimmick. Specifically, the character work that is present within Dark Victory is superb and easily one of the best aspects of the book along with Tim Sale's unique art style. The only real qualm I have with the book would have to be the way in which the Hangman murders pan out. Specifically, the reveal of who Hangman is feels somewhat forced and could have been better developed.

Just as the great hard-boiled writers Raymond Chandler and Ross Macdonald have been said to write the same story over and again, Jeph Loeb and Tim Sale, their descendants, recreated their first and highly successful Batman tale THE LONG HALLOWEEN, but made it even better, and found more of a voice for themselves. Again the story involves the early years of Batman and Commissioner Gordon in Gotham City (this story brings us up to the creation of Robin through the murder of Dick Grayson's parents by members of the mob), and again a serial killer strikes on holidays and is heavily involved with the Falcone crime family; but the mystery is more tightly plotted this time, and much more plausible. Tim Sale's artwork is also much stronger here; whereas in THE LONG HALLOWEEN the world of Bruce Wayne and Jim Gordon and organized crime was rendered more realistically, with the world of the encroaching "masks" (the classic Batman rogues gallery) was heavily stylized, here the two seem more blended together, with a stronger sense of expressionism dominating the renditions. The layouts are truly spectacular--this is some of the best Batman art I've ever seen.

While it was an enjoyable sequel to Long Halloween, I still felt it was a bit flawed. I thought they took far too long to actually introduce Robin and use him as a character, Should have happened in the first 1/3 of the novel now the final third of it. And the ending felt kind of rushed oddly. It just kind of wrapped up and that was it, It didn't feel as truly satisfying as it could have been after such a long build up.

and amazing sequel to batman: the long halloween. my only gripe (and this may be a spoiler in the end) is that robin doesn't appear till the third half, and it does seem slightly forced in. other tan that, i loved it! if you loved long halloween or are thining about buying it, i recommend picking this up as well.

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Tuesday, July 8, 2014

Free Download Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler

Free Download Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler

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Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler


Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler


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Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler

Review

“Star Wars Storyboards: The Original Trilogy shows just how much pre-planning went into the original iconic trilogy.” (The Week Magazine online)“Star Wars fans, take note . . . the book offers a glimpse into the detailed planning and rounds of story revisions that went into the original films.” (Parade Online)"Star Wars fans, rejoice — today is the big day that Lucasfilm opens up the archives and bestows upon you Star Wars Storyboards: The Original Trilogy." (Flavorwire)"The book contains fantastic insight into how the films' stories and characters were conceived…" (Esquire.com)"Nerd out over how Star Wars might have been." (Wired)"Every Star Wars fan should get this Star Wars Storyboards book." (Gizmodo)

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About the Author

J. W. Rinzler, executive editor at Lucasfilm Ltd., is the author of the New York Times bestsell­ers The Making of Star Wars and The Making of Star Wars: Revenge of the Sith. He lives in Petaluma, California. Joe Johnston served as a storyboard and concept artist on the original Star Wars trilogy. He has since directed The Rocketeer, Jumanji, and Captain America: The First Avenger. He lives in Los Angeles. Nilo Rodis-Jamero served as the assistant art director of visual effects for The Empire Strikes Back and as costume designer for Return of the Jedi.

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Product details

Hardcover: 352 pages

Publisher: Harry N. Abrams; 1 edition (May 13, 2014)

Language: English

ISBN-10: 9781419707742

ISBN-13: 978-1419707742

ASIN: 1419707744

Product Dimensions:

9.5 x 1.2 x 12.2 inches

Shipping Weight: 4 pounds (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

107 customer reviews

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Seeing that there's already Star Wars Storyboards: The Prequel Trilogy, it's probably not surprising to expect a second book to complete the set.Star Wars Storyboards: The Original Trilogy is as thick as the earlier book at 352 pages. It's hardcover and the paper quality is nice.The storyboards featured are split between Episodes IV, V and VI, with 82, 112 and 142 pages devoted to each respectively.These storyboards are of course way older than those from the Prequel Trilogy book. Some of the storyboard artists include Joe Johnston, Ralph McQuarrie, Nilo Rodis-Jamero, Roy Carnon and more. There are 15 artists total. You can see different drawing styles, and medium such as in pencil, ink, markers and even watercolours.Not every sequence in the film are included of course. In this book are mostly those that require visual effects, or action scenes, or the more complex sequences. It's cool to study the composition and story flow, and the handling of space and perspective is impressive.The art is fantastic. Many of the storyboards are drawn quite detailed. You can actually make out the designs for the mask that rebels and stormtroopers are wearing. Same goes for the many spaceships and robots.It's interesting looking at the storyboards for these three old films. Even though the technology supposedly outdated by today's film or sci-fi standards, it doesn't feel that way because of the suggestive nature of art.The text only comes in the form of short captions describing the scenes on each page.This is a great artbook that goes well together with the Prequel Trilogy book.Highly recommended to those who love Star Wars and storyboards.(See more pictures of the book on my blog. Just visit my Amazon profile for the link.)

Can't recommend it enough. The best Star Wars experience since watching them for the first time as a kid.Especially for the boards about A New Hope, you can see how early/unfinished ideas about the script, characters and design evolved into something more familiar. It shows what could have been (in the earliest boards, ANH was much MUCH more violent) and some of what (thankfully) never was.I really like the care it takes to showcase each artist's work and interpretations throughout. These guys played such a big role in shaping this huge piece of pop culture, and it's good that they can get their due!

I'd say author/editor J.W. Rinzler deserves an MVP award for his current contributions to Star Wars fandom. He's hit another home run for the team with this OT Storyboards book. I loved his "Making of" books, and this is a perfect companion piece for them. It just keeps getting better. This book is not just a collection of various storyboard art. For the first time (I believe), Rinzler uses the original storyboard art to re-tell the stories of the three original movies (A New Hope, Empire Strikes Back, Return of the Jedi) in their original theatrical release form.Text is sparse in this book. Beyond the foreward and introduction, it's all artwork with brief captions.If there is a drawback to this book, it's that not all scenes are included--probably to keep the page count and price manageable. One glaring omission is the Cantina scene. Given how choppy the Kenobi/"Walrus Man" battle was, I'd like to see how it was portrayed in storyboards.If there is one treasured advantage to this book, it's that we see more drawings based on early designs that didn't appear in the movie. For example, the original Millennium Falcon was the Blockade Runner ship from Ep4's first scene. The cockpit was reused for the MF's "hamburger" design so the BR got a "hammerhead" cockpit. In these boards we see the original MF design escaping from Mos Eisley and being captured by the Death Star. That kind of stuff pleases me to no end!SPOILER ALERT! You won't believe what Alderaan originally looked like! It looks pretty familiar!It appears that Rinzler kept his choices as close to the finished movies as possible. That means that pretty much none of the cut scenes are included. For example, the scene of Luke and Biggs early in Ep 4 isn't here. Nor are any of the 1990's Special Edition scenes included. I did find one board from the sandstorm scene in Jedi, and there might be a few other rare instances, but overall the cut material is left out. I very much hope a future edition gets the "Special Edition" treatment with all that added.***Side note for those who don't know what storyboards are.***Storyboards are drawings of each shot for a movie. Every shot in a movie is pre-planned. Directors hire artists to sketch out what a particular shot will look like, meaning who is in the shot, how close they are to the camera, what action is taken (such as a spaceship's movement across the screen), and important background elements. Sometimes storyboard artists are asked to redraw a shot many times, depending on how many times the director changes his/her mind!Keep in mind, storyboards are sketches. They are not conceptual art involving detailed paintings. These are just production sketches that are placed on a big wall so the director can see the flow of the movie. And since directors often use a team of storyboard artists, the quality and style can vary greatly. They also vary in medium: some in pencil, some in ink, some in grey wash tones, and a very few in color. PLEASE DO NOT EXPECT FULLY RENDERED PIECES OF ARTWORK! Directors do not need storyboards that are finished pieces, so it is wasteful to pay for anything more than a sketch that shows the bare essentials for the shot.The beauty in this project is to experience the movies in their raw, imagined form. It's not just a revisit to the visuals or the story. It's a journey into the mind of Lucas and his assistants as they create the greatest sci-fi epic of all time.

I have always loved to see how filmmakers expressed and worked out their ideas on paper beforehand. To me this is a very essential procedure and an excellent creative management tool. Star Wars introduced me to the concepts of storyboards and pre production art and I have enjoyed seeing the progression of ideas and how the films were visually developed.This book delivers! Several of the images I had seen before in the various "Art Of . . " books, and I had expected seeing some of the same material here, but this delves deep into the archives and pulls out images about Ideas I never knew were being discussed, making this book something like a time travel device. If you are into Star Wars, you should have this on your shelf. If you are into the pre-production art of films you should have this book. If you are a student of film, you too should have this book because the art of storyboarding is valuable to the filmmakers ability to communicate. This is a great way to see how film looks are developed.I highly recommend this book.

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Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler PDF

Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler PDF

Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler PDF
Star Wars Storyboards: The Original Trilogy, by J.W. Rinzler PDF