Senin, 26 September 2011

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Eichmann in Jerusalem, by Hannah Arendt



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Eichmann in Jerusalem, by Hannah Arendt

Sparking a flurry of heated debate, Hannah Arendt's authoritative and stunning report on the trial of German Nazi leader Adolf Eichmann first appeared as a series of articles in the New Yorker in 1963. This revised edition includes material that came to light after the trial, as well as Arendt's postscript directly addressing the controversy that arose over her account. A major journalistic triumph by an intellectual of singular influence, Eichmann in Jerusalem is as shocking as it is informative-an unflinching look at one of the most unsettling (and unsettled) issues of the twentieth century.

  • Sales Rank: #696906 in Books
  • Brand: Viking
  • Published on: 1963-05-17
  • Ingredients: Example Ingredients
  • Number of items: 1
  • Dimensions: 20.00" h x 20.00" w x 20.00" l,
  • Binding: Hardcover
  • 273 pages

Amazon.com Review
While living in Argentina in 1960, Nazi leader Adolf Eichmann was kidnapped and smuggled to Israel where he was put on trial for crimes against humanity. The New Yorker magazine sent Hannah Arendt to cover the trial. While covering the technical aspects of the trial, Arendt also explored the wider themes inherent in the trial, such as the nature of justice, the behavior of the Jewish leadership during the Nazi Régime, and, most controversially, the nature of Evil itself.

Far from being evil incarnate, as the prosecution painted Eichmann, Arendt maintains that he was an average man, a petty bureaucrat interested only in furthering his career, and the evil he did came from the seductive power of the totalitarian state and an unthinking adherence to the Nazi cause. Indeed, Eichmann's only defense during the trial was "I was just following orders."

Arendt's analysis of the seductive nature of evil is a disturbing one. We would like to think that anyone who would perpetrate such horror on the world is different from us, and that such atrocities are rarities in our world. But the history of groups such as the Jews, Kurds, Bosnians, and Native Americans, to name but a few, seems to suggest that such evil is all too commonplace. In revealing Eichmann as the pedestrian little man that he was, Arendt shows us that the veneer of civilization is a thin one indeed.

Review
"Narrator Wanda McCaddon brings a cultured British slant to the narrative, sometimes gently delivering various European accents while moving forward calmly and rationally." ---AudioFile

About the Author
Hannah Arendt (1906-1975) was an influential German political theorist and philosopher whose works include The Origins of Totalitarianism, The Human Condition, and Eichmann in Jerusalem.

Wanda McCaddon has won more than twenty-five AudioFile Earphones Awards, including for The Seamstress by Sara Tuvel Bernstein, for which she also earned a coveted Audie Award. AudioFile magazine has also named her one of recording's Golden Voices. Wanda appears regularly on the professional stage in the San Francisco Bay Area.

Most helpful customer reviews

28 of 28 people found the following review helpful.
Troubling and Educational.
By Thomas M. Magee
The Holocaust is an often told story. Hundreds if not thousands of books are written about it. This book, "Eichmann in Jerusalem" has to be the book to read on the subject. The book tells the story of Adolph EIchmann's trial in Jersusalem for crimes committed in the Holocaust during WWII. This is a trial for a person who personally did not kill one Jew. He was a mere Lt. Colonel in a huge bureaucracy, buried deep down in the organizational chart. How can that be? I think the answers in the book chill the average person to the bone. It touches on some subjects out of history that are very dark. It also is frighteningly real for today's world. I know that alone will scare most as well as any haunted house they go through.

This book flows very well. The author keeps the flow moving fast from chapter to chapter. She tells you the who on Eichmann, why it was important then in 1963, and goes over the events of the Holocaust. Her information comes straight from the trial transcripts. That adds a new angle to the event, closer to the timeline. I think that adds a lot to the story.

Overall the book is a great history of the Holocaust. It will give you facts that you haven't read before. These facts rattled the world then and I think it would now to anyone who reads it.

The book explains the whole final solution in intimate detail. It walks you through how it started as mercy killings due to low quality of life to a very large complex state owned machine. The book doesn't fill you will the horrible stories. It gives you the bureaucratic dry explanation on how the system worked. You learned how the elite was very much behind the process. That alone is something few other books offer. Through this line you learn that Eichmann was the person who made the whole system run. He made it run as only a Lt. Colonel buried in the bureaucracy who controlled very little. His office got the trains to put the Jews on. Then he coordinated with the camps to take the Jews. He did not run the camps himself. The Nazis also used the local Jews to make their system run. It was their local government which choose the names and Jews at gunpoint which guided them to the chambers in many camps. Their succession of lies to the Jews about a better tomorrow was a critical fuel that made the system run. Everyone would either trade in their neighbor or hung on in hope of a better tomorrow. German society also bore a piece of the guilt. Whole institutions jumped on board to make things happen.

Hannah Arendt also gives you the context from the period. Why the Israeli's conducted trail and the reaction from the world. The process of the trial in a way shaped world attitudes even to today. It brought out the horror of the system out of the shadows to see it was more than a mix of personal stories but it was a state sanctioned machine. I think it explained the system which no one on on the outside understood.

There is one thing from the book I know will upset people. The question today is how can people do this? Why would people do this. The book explains who Eichmann was. He started as a private in the SS. He was an average worker in Germany before that; a salesman. He moved up the SS chain quickly through hard work and taking full advantage of opportunities as they came. He probably would have moved to the top of any bureaucracy, Walmart, Exon, Ford, as he did with the SS. The only difference was then the mission was the Holocaust vs. selling odds and ends at Walmart. His story shows the importance of morals vs. just a good job. He was just a career climber in the business of the day. You can see how this principle of career success alone, outside of morals turns people into monsters. That element alone is what people can see happening tomorrow but won't admit it. That do that because they fear they too might do the same thing to advance or know someone who will.

This book

36 of 39 people found the following review helpful.
Betwixt Ignorance and Wisdom is Judgement
By Pretend Person
At one level, this book is a report on the trial of Adolf Eichmann in Jerusalem in which is considered the competency of the court to try Eichmann, the appropriateness of the law, the legality of Eichmann’s kidnapping in Argentina, the fairness of the trail, the adequacy of the defense, the tactics of the prosecution, the conduct of judges etc. Nor, as stated by Hannah Arendt herself in the postscript, is this book intended to be about the greatest disaster in the history of the Jewish people, the nature of the Third Reich, a history of German people, a theoretical account of totalitarianism nor a philosophical treatise into the nature of evil. Having said this, there are still important insights into the human condition and the nature of human laws and human judgement in the course of shaping that condition. I have tried to provide here a narrative summary of these insights as I understand them.

Hannah Arendt explains how Himmler was able to twist the logic of morality to assuage the conscious of his handpicked, academically degreed, leaders. The commanders of the Einsatzgruppen were among the intellectual elite of the SS. What this says about the ability of the academically degreed to see through the sophistry, to the evil, is not discussed. So much for education being the path to moral excellence. In any case, Hannah Arendt points out that, for the most part, the members of the SS and the Einsatzgruppen, were not murders or sadist by nature. I guess that there were just not enough murderers or sadists around to perpetuate such monstrous evils on so gigantic a scale. There was actually a systematic effort to weed out the psychopaths under the understanding that soldiers are not killers and killers do not make good soldiers. This being the case, Himmler’s problem was how to overcome the ordinary human feeling of pity that a normal person feels in the presence of physical suffering. Himmler was able to turn this normal instinctual feeling around. Instead of saying to oneself “What horrible things I did to people!” his men came to instead instantiate the perspective, “What horrible things I had to watch in the pursuance of my duties, how heavily the task weights upon my shoulders.” That is, pity for the suffering is turned into self-pity, egoism in its most basic and vain form, the failure to put suffering into proper perspective against the greater setting of human history and the cold striking tragedies of the world. The SS men were now the victims for having to witness this suffering in the performance of their sacred duties. From here it was but a small step to hate the Jews for thrusting this unwanted and distasteful work upon upright and just men of duty. The SS men were thus able to stay convinced of their own civilized nature, there was no decent into barbarism under this formulation. What could be more twisted?

Hannah Arendt explains that this logic was important for Eichmann because at all times Eichmann was doing his duty in accordance with the law and in doing so he was fulfilling his moral duty while satisfying his psychological need for authority. Eichmann even manages to twist Kantian moral philosophy and deontological ethics to justify his actions and assuage his conscience. Eichmann was narrow minded enough to take his job seriously and avoid the temptation of interpreting, amending, or exceeding his orders. To do so would have been unlawful and Eichmann, so as never to be found acting criminally, always acted in accordance with the law - never understanding that the regime pronouncing the law was itself criminal. Eichmann found himself in a contorted world where orders that were contrary to those issued by the criminal regime were considered to be criminal; a world of legal crimes. Eichmann was unable to recognize the self-canceling nature of criminal laws enacted by a criminal state and make moral judgments for himself. It is in just these sorts of cases where human judgment is paramount; when there are no longer any rules or principles of society or cultural values by which to guide one’s judgment. This is when judgment is at its most risky and thus when it is most valuable to us as humans. The judgment of the individual in such circumstances, relying only upon the voice of inner conscious and felt reality of human fidelity, becomes the only safeguard against crimes against humanity. To exercise judgement under conditions of uncertainty is just what it means to be human. Where does this ability to judge based on inner conscious in the face of contrary cultural value and societal rules come from? Apparently, not from education alone given the actions of the Einsatzgruppen. When is the exercise of independent judgment justified and on what basis can it be made? This is the fundamental philosophical question of ethics as pointed out by Hannah Arendt. Most often, the soundness of our individual judgments is found in how well these judgments match up to the rules and expectations of society and the prevailing cultural values. This is how we know that our judgments are ‘correct’. Even today, we often mistake social conditioning for ethics. Acting against these guidelines in making a judgement is the risk we take, this is the risk that just is the human condition. However, on her own account, (The Origins of Totalitarianism), totalitarianism was a new and unrepresented form of government that came into existence in the twentieth century and was a massive intrusion of criminal violence into the realm of politics (On Violence). Further, and again on her own account, how could Eichmann be expected to see his way clear? In (On Violence), Hannah Arendt adds bureaucracy to totalitarianism as one of the latest innovations in twentieth century politics. Bureaucracy is the rule of an intricate system of institutions in which no one, neither the best, nor the few, nor the many can be held responsible, it is effective rule by ‘Nobody’. Rule by ‘Nobody’ is the most tyrannical of all since there is no one left to answer for what is being done. Eichmann was a part of state that was an admixture of two unprecedented modes of political rule. We must be honest and ask, how many of us today in the same position as Eichmann would act in the same way and fail to exercise human judgment and make a truly independent moral decision in a set of unprecedented cultural and social challenges such as those presented by totalitarianism? It is in just such an unprecedented environment that consequences of action cannot be foreseen. This is the terrifying reality and banality of evil that we must recognize in ourselves. We must face the reality that Eichmann can be ‘Every-man’ (Eichmann as Every-man is a conclusion the Hannah Arendt repudiates in the postscript because this would cast Eichmann as a scapegoat and absolve him of personal guilt and this cannot be the case because he is still guilty of not thinking and not making independent moral judgments). However, I believe that admission of this deep defect in the human condition is the only way to guard against its insidious ability to overtake any of us. Not making this admission is an open invitation to the banality of evil. After all, what are we to make of Martian Heidegger, a philosopher and eminent thinker of prodigious education, intimately known to Hannah Arendt, who flirted with, collaborated with, and joined the Nazi Party? Thinking itself is not a guarantee of good judgment and again education does not guarantee the path to moral excellence.

In Eichmann’s mind, he was also the victim of a corrupt system, something that he could only see after the fact. Hannah Arendt, with sardonic wit, points out how, in this morally inverted world of the Third Reich, that the temptations to be resisted were the temptations not to murder and not to exploit and that too many Germans learned how to resist temptation. The key to this strategy is in exploiting the ability of the human being to rationalize and hence, the banality, or should we say, the rationality of evil. Owing to cultural failure and thus the inability for cultural values to serve as a standard for individual judgements, any evil can be justified and I believe this is Hannah Arendt’s most unsettling insight into the human condition. In the case of the Third Reich, rationalization was based on the ordinariness of death, the exigencies of war, and the demands as well as the expectations of a perverted social construct. Individual judgments were now matched up to these conditions to determine the correctness of the judgments and to determine right from wrong, good from evil. In this case, when human judgment is paramount but when there are no longer any rules or principles of society or cultural values by which to guide one’s judgment, how is human judgment possible? How readily can we expect one to think originally and judge independently in a set of never before encountered social and cultural rules with no precedent as represented by totalitarianism? On what criteria is one to make such independent judgments when one is part of an unprecedented set of circumstances? Again, on her own account, (The Human Condition), human action becomes more difficult as the bigness of society increases. Action collapses into administration. The bigness of the society crowds out the realm of, and opportunity for, individual action. We thus become administrators, not actors, in the governmental and business bureaucratic machinery that the bigness of society compels. Hannah Arendt does not provide us with a formula for, or guaranteed way in which to make, the human judgments that are required to be made in unprecedented conditions; when there are no authentic social or cultural norms to guide our judgement. There is no sure path to independent individual human action when we are smothered by the imperatives of administrative necessity. There are no for sure guarantees in these unexplored territories and there were none for Eichmann as well. Hanna Ardent gives us no such formula for judgment or path to action because there is none to be had, this is the precarious position of the human condition. Hannah Arendt, I believe, tells us that what is in-between wisdom and ignorance is that rarefied quality of a kind called human judgement and that this is all that we have. This judgement, once made, further compels action. Arendt further indites Eichmann for his failure to act. "Arendt's theory of action and her revival of the ancient [Greek] notion of praxis represent one of the most original contributions to twentieth century political thought. ... Moreover, by viewing action as a mode of human togetherness, Arendt is able to develop a conception of participatory democracy which stands in direct contrast to the bureaucratized and elitist forms of politics so characteristic of the modern epoch." (d'Entreves, Maurizio Passerin (2006), "Hannah Arendt", Stanford Encyclopedia of Philosophy).

Most unsettling, Hannah Arendt also points out that the machinery mass genocidal murder was not possible without the cooperation of Jewish leaders themselves; Eichmann’s SS deportation transport trains to the death camps were filled with people from the lists drawn up by the Jewish ‘helpers’. It seems that the complete moral collapse and banality of evil was not the sole domain of the Nazis. Although Hannah Ardent was later sorry that she coined the phrase “banality of evil” (p. xviii of the Introduction by Amos Elton) I believe that the phrase still has great currency and aptly captures her unsettling insight into the human condition. Genocide and mass murder just is a permanent potential in the human condition, it can happen again and it actually has happened again since WWII on more than one occasion. I am glad the she coined the phrase and even feel that we should up the stakes and call it the terrifying banality of evil. What better phrase is there to understand what was for Eichmann a job, just a daily routine and literally the brutal and barbaric death for the people with whom he dealt in course of his bureaucratic job? Eichmann was indeed terrifyingly normal as Arendt points out.

A general challenge of the human condition is that we are instinctively conformist, rule making and rule following creatures. It would seem that this capacity is a genetic disposition, a cognitive rigidity, the dark side of which we see played out here. However, normative rule following behavior allows us to build lasting cultural institutions and promotes social cooperation. The object of that social cooperation and institution building is of course the sine quo non. Human collective action is neither virtue nor vice, it is the object of the collective action that must be addressed.

The problem with justice, so called, is that it is backward looking and retributive. In any case, it is not available to us, only the law is available to us in governing the human condition. If we can realize the “banality of evil” perhaps we can work toward and someday come to realize the banality of goodness.

11 of 11 people found the following review helpful.
Sociopath? Mindless buffoon? Banal civil sesrvant?
By W. J. TAYLOR
Eichmann in Jerusalem, Hannah Arendt, 298 pages. Everyone should read a book about Hitler’s Final Solution every ten years or so, just to get re-grounded in the terrible possibilities of being human. Arendt’s reportage of the post-Nuremburg trial of Adolf Eichmann certainly offers such re-grounding. She chillingly moves through the steps that Germany took—often in counter-productivity to its own war effort—to cleanse Europe of Jewry: first, deportation; second, concentration; thirdly, extermination. In many places, this is a report to skim, especially as Arendt discusses the legality of the entire trial in Israel. In many places, this is a report to follow closely, as when Arendt goes through each country’s specific response to the demands of Nazi Germany. (Alas, only one country, Denmark, effectively denied Nazi demands for killing its Jewish citizens.) Arendt’s final three chapters are marvelous—if such and adjective can be used to describe Eichmann and what went on. Her summation of his trial and execution read thus: “in those last minutes . . . the lesson that this long course in human wickedness had taught us—[was] the lesson of the fearsome, word-and-thought defying banality of evil.” I think that the word “sociopath” was not available to Arendt; she seems to alternately see Eichmann as a buffoon, as a banal, self-promoting civil-servant, and as someone willingly self-deluded. Perhaps all of those are involved in some degrees in the diagnosis of sociopath. And, I suppose, sociopaths are banal in that they are one-dimensional and lacking in imagination, a requirement of empathy.

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The Quantum Moment - How Planck, Bohr, Einstein, and Heisenberg Taught Us to Love Uncertainty

  • Published on: 1600
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Selasa, 13 September 2011

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L'alphabet des dieux, édition 2002, by Jean Haab

  • Published on: 1998-01-31
  • Original language: French
  • Dimensions: 6.30" h x 1.57" w x 9.61" l,
  • Binding: Hardcover

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Sabtu, 10 September 2011

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  • Published on: 2007-02-25
  • Binding: Paperback

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Selasa, 06 September 2011

[I354.Ebook] Fee Download Self-Contradictions of the Bible, by William Henry Burr

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Self-Contradictions of the Bible, by William Henry Burr

The infamous book that illustrates the contradictory nature of the Bible, fully backed with reference points. A must have for all free thinkers.

  • Sales Rank: #1147257 in Books
  • Published on: 2013-12-18
  • Original language: English
  • Dimensions: 8.50" h x .18" w x 5.50" l,
  • Binding: Paperback
  • 78 pages

About the Author
William Henry Burr (1819 - 1908)

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47 of 51 people found the following review helpful.
Still Controversial 150 Years Later
By Mamalinde
An amazing little book, still raising eyebrows and upsetting fundamentalists 150 years after its publication. While the author is not a scholar and never claims to be, he offers a number of cases where the bible might contradict itself. No attempt is made to put things in context, or to put a spin on them. Just verse for verse contradictions. The Preface is an eye opener, and I have to say this little volume has aged very well. Thought provoking for those who can't be spoon fed their faith.

48 of 57 people found the following review helpful.
Self-Contradictions of the Bible
By Rohan L. Ebanks
I consider William Henry Burr's Self-Contradictions of the BibleEa smashing success. Burr truly brings out simple fact that the belief that the Bible is the inspired, inerrant, and literally true word of God - thrives on ignorance, not just of a general sort, but an ignorance of the Bible itself. Because of critical thinkers like William Burr, the Apologetics are nowadays working evermore harder to explain awayEall the inconsistencies in the bible. For instance, God is kind, merciful, and good. Ps.100:5 "For the Lord is good, his mercy is everlasting." Yet God is cruel, unmerciful, and evil. Num.25:4 "And the Lord said to Moses, Take all the heads of the people, and hang them up before the Lord against the sun, that the fierce anger of the Lord may be turned away from Israel."
Let try another. Should we rejoice when our enemies suffer? Pr.24:17 says no Rejoice not when thine enemy falleth, and let not thine heart be glad when he stumbleth.EContrast with a resounding yes; Ps.58:10 The righteous shall rejoice when he seeth the vengeance: he shall wash his feet in the blood of the wickedE I think I have made my point. For more insight into the many oddities of the bible one should pick up Dan Barker's Losing Faith In Faith: From Preacher To Atheist. As Mr. Burr clearly shows the holy book of multiple choice is truly a curious thing.

31 of 39 people found the following review helpful.
Interesting discussion points
By William
This book is basically a laundry list of contradicitons in the bible. I like the book, and thought it would make for a very good conversation starter the next time a religious group knocked on your door, but I really wish the author would have backed up the contradictions with some discussion and historical perspective.

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Minggu, 04 September 2011

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  • Published on: 1605
  • Binding: Paperback

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Sabtu, 03 September 2011

[E450.Ebook] Get Free Ebook Marvel's Guardians of the Galaxy: The Art of the Movie, by Marvel Comics

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Marvel's Guardians of the Galaxy: The Art of the Movie, by Marvel Comics

Continuing their popular ART OF series of movie tie-in books, Marvel presents its latest blockbuster achievement! Featuring exclusive concept artwork, behind-the-scenes photographs, production stills, and in-depth interviews with the cast and crew, MARVEL'S GUARDIANS OF THE GALAXY: THE ART OF THE MOVIE is a deluxe keepsake volume that provides an insider's look into the making of the highly anti cipated film directed by James Gunn, and starring Chris Pratt , Zoe Saldana, Dave Bautista, featuring Vin Diesel as the voice of Groot, Bradley Cooper as the voice of Rocket, with John C. Reilly, Glenn Close as Commander Rael and Benicio Del Toro as the Collector.

  • Sales Rank: #383382 in Books
  • Brand: Javins, Marie/ Gunn, James (FRW)/ Wen, Charlie (AFT)
  • Published on: 2014-08-12
  • Released on: 2014-08-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.88" h x 1.13" w x 10.88" l, .0 pounds
  • Binding: Hardcover
  • 336 pages

Most helpful customer reviews

47 of 51 people found the following review helpful.
You liked the movie? You will love this artbook
By ARTBOOK PASSION
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The first thing to be indicated with Marvel's book Guardians of the Galaxy: The Art of the Movie, it is first one of the collection Art of Marvel movie has to exceed 300 pages. Indeed the precedent made 272 pages and this one makes 336! On the other hand, I expected a bigger artbook, because it has the same thickness as other one having fewer pages. The cause in it? And well the pages of this artbook are a hair finer, but feel reassured it is all the same good quality.

Other importing point, the artbook is squeezed well in the case and thus it does not fall when we tilt it a little. It was one of the problems cleaning the previous cases of the collection Art of Marvel movie. Well it is very beautiful, but the contents of the artbook in all this, that gives what.

And well it is because of the happiness my dear friend! Many illustrations full page, and especially height of artworks everything in colors on the research for all the protagonists of the movie and for lands. We can blame, on the other hand, that the illustrations are for a dark great majority, because we do not see very certain details and it is a real pity.

For the contents, everything is, and it is always one treats to see the various researches) for all the characters at the level of their physical appearance and their style. We resume what makes the success of books on movies marvel: we begin with a history of the comics and the explanation of the choice of the history, then we resume the chronology of the whole movie (attention on spoilers for those who would want to look at the book before seeing )

Ah yes, a small disappointment: I thought of credit note at least about ten page on the store of collectors showing us not bad object of its collection, which are many of the winks of eye with regard to other universe of comics marvel. Except us let us have that 3 pages with almost nothing.

To end, I shall like making a precision further to some reproaches on Marvel's book Guardians of the Galaxy: The Art of the Movie, whom I was able to read on certain site, it is not a making of of the movie, thus no photos of wings or interviews of the actors. This is an artbook: a book on the artistic creation of the movie.

Thus if you like the beautiful images, or if you want comments on the research at the level of the design of the movie, then this book is made for you

20 of 21 people found the following review helpful.
Marvel's Guardians of the Galaxy Art Book
By Graham Swearingen
If you have seen any of the other Marvel Art of books, then you'll know what to expect, fantastic presentation and quality. The slip case is nice and shiny, the hardcover book is thick and wide so the full color pictures aren't upscaled and look clean and sharp (though unfortunately a few pictures are poorly laid out across 2 pages and sink into the binding of the spine rendering them almost unviewable). There is a great forward by director James Gunn, 9 chapters (with great concept art of omitted characters like Nova, and storyboards for scenes like the Prison Break, weapons and character design and marketing campaign) and more.

There are full splash pages of fantastic model work, skin textures, vehicle designs, all with minimal text. The Slipcase is the "A" film poster (pictured above) with Peter Quill, Groot and Rocket on the front, and Drax and Gamora on the back. The actual book cover is a great piece of concept art with more of a matte finish as opposed to the glossy slipcase finish. Both are top notch, the book fits snug in the slipcase but not too tight that it's difficult to get out. Just an overall awesome presentation. Keep in mind, this is an art book, not a behind the scenes book about the making of the film. There aren't pictures of the actors in costume, or a bunch of still shots from the film, it's preliminary art and concept art. It is, after all, an art book.

Foreword by James Gunn
Introduction: A Thief, Two Thugs, An Assassin and A Maniac
Chapter 1: The Legendary Star-Lord
Chapter 2: Dark Alliances
Chapter 3: Galaxy's Most Wanted
Chapter 4: Corps Values
Chapter 5: Prison Break
Chapter 6: Knowhere To Run
Chapter 7: Family Reunion
Chapter 8: Somebody's Gotta Do It
Chapter 9: Marketing Guardians Of The Galaxy
Afterword
Contributor Bios

Some people may find issues with the lack of text, or others may complain that there is too much text. There's about a paragraph of text on every page and it's impossible to please everyone. I became a huge Guardians of the Galaxy fan after watching the film opening weekend and have been trying to get my hands on any and everything Guardians related. If you loved the movie (and who didn't, it was freakin' awesome) then this book is a must. It's great to see what Star-Lord could have looked like, the design changes his ship the Milano (named after Pete Quill's childhood crush Alyssa Milano, which is hilarious) went through and what inspired its look. For $40, you get a fantastic art book with an immaculate presentation. This comes FULLY APPROVED.

19 of 21 people found the following review helpful.
Almost absurdly nice
By black thumb
SHORT VERSION: This book gets almost everything right. It shows design evolution for characters, costumes, and vehicles, pre-viz "atmosphere" development for settings, and it has lots of interesting insights from the artists without overwhelming you with text. Plus some storyboards and some VFX frames for comparison. And the physical book and slipcase are very solid and nicely made. If you're interested enough to be reading this, just get it already.

LONG VERSION: My frame of reference for movie art books was established by the Star Wars "Art of" series. The original trilogy art books were very heavily weighted toward design evolution, showing how AT-ATs and cloud cars and so on changed from initial conception to final product. They also had some matte paintings, especially for ESB, and some storyboards, mostly for space battle and speeder bike sequences in ANH and ROTJ. But almost nothing in way of explanation in terms of how and why artistic decisions were made.

The prequel trilogy art books started providing more explanation from the artists about how and why they made their design choices. The TPM book had a lot of design evolution and many lovely concept paintings. For AOTC, digital paintings used in pre-viz take up a lot more of the book, so consequently you get less in terms of design evolution. By the ROTS book, the design evolution element is barely represented at all; pre-viz paintings take up almost the entire book.

The GOTG book hits a really nice balance among all of the elements one might want in an "Art of" book: lots of design evolution, lots of pre-viz paintings (but a useful variety, not just three dozen different views of Geonosis), and over all of it, lots of explanations from the artists and creators about why they did what they did. This turns the art for each character and vehicle from a gallery into a narrative: here's what worked, here's what didn't, here's why certain things ended up on screen.

To pick just one example, I hadn't thought about how many ways there were to make Groot creepy. But the Groot that ended up on screen is surrounded by an uncanny valley (maybe an uncanny moat?) of horrible alterna-Groots: wooden skeleton Groot, asymmetrical pseudo-Ent that looks like it's falling apart, plant demon Groot that just stepped out of some jungle Hades, and so on. There must be a dozen or so possible Groots in the book, and except for the Groot we know and love, they're all one flavor or another of nightmare fuel.

Same thing for pretty much every other character in the book. And some nice design evolution stuff for the vehicles, too, and for locations like Morag, Xandar, and my favorite, Knowhere.

Some other nice touches: Many of the characters and vehicles in the book has a VFX frame from the actual movie for comprison. Practically every piece of art in the book has the artist's name at the bottom (unobtrusively) so you know who did what. Chris Foss gets a nice shout-out in the Forward, and the book includes some of his concept art for the movie--yes, he worked on the film! A few pages of cool storyboards by David Krentz show the visual development of the prison escape sequence.

I assume if you're interested in the book you must have liked the movie, and you're coming to the book in the hope that it will take you deeper into how the movie came to be. That hope will be rewarded. The cumulative effect of all of the art and all of the artists' thoughts about the art is to make the book into a sort of manifesto for doing visual sci-fi that isn't hostage to any one thread of influence. As James Gunn writes in the Forward: "Guardians of the Galaxy would be about color, and life. In-you-face, over-the-top, unrepentant COLOR. We would rescue the aesthetics of pulpy science fiction films from the fifties and sixties--films like Forbidden Planet, Fantastic Voyage, Barbarella--while simultaneously retaining the grittiness and workaday reality of later films."

Finally, the book itself is really well done as a physical object, almost luxurious in the quality of its production. It would be a nice piece of kit even without the slipcase. With its big wide pages, heavy glossy paper, rock-solid cover, and sewn binding, it was clearly meant to be enjoyed and pored over and shared. My 9-year-old and I turned every page and found wonders all the way through. Highly recommended.

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Marvel's Guardians of the Galaxy: The Art of the Movie, by Marvel Comics PDF

Marvel's Guardians of the Galaxy: The Art of the Movie, by Marvel Comics PDF
Marvel's Guardians of the Galaxy: The Art of the Movie, by Marvel Comics PDF