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[BBC系列]：Sam Peckinpah-铁人Sam Peckinpah - Man of Iron-1080P高清迅雷网盘下载
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英国广播公司（BBC）发行的传记纪录片在1991年作为“移动图片”系列的一部分播出-英语旁白Biography Documentary published by BBC broadcasted as part of Moving Pictures series in 1991- English narration
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萨姆·佩金帕（Sam Peckinpah）是一个自相矛盾的人，既培养并贬低了自己作为好莱坞最难导演的传奇之一的传奇，他的经常暴力电影引起了强烈反响，而且阅读内容几乎相互矛盾。佩金帕（Peckinpah）生于加利福尼亚州的一家法人，曾在海军陆战队服役，1950年获得南加州大学硕士学位。他在剧院和电视台导演的早期职业生涯中，曾担任导演唐·西格尔（Don Siegel）执导的五部电影的助理动作电影（佩金帕甚至在1956年西格尔（Siegel）的《入侵入侵者的身体》中扮演了很小的角色）。佩金帕很快就与西方流派联系在一起，创作并导演了“枪支”，“步枪手”，“西方人”和其他电视连续剧的剧集。他在1957年根据传奇人物比利（Billy the Kid）创作的剧本最终成为?马龙·白兰度（Marlon Brando）怪异的“单眼杰克（ONE-EYED JACKS）”（1961）在没有他的参与的情况下进行了许多改动。佩金帕（Peckinpah）作为导演的第一部电影《致命的伴侣》（THE DEADLY COMPANIONS）（1961），再加上《高地穿越国家》（RIDE THE HIGH COUNTRY）（1962），《大不列颠》（MAJOR DUNDEE）（1965），《狂野的邦德》（THE WILD BUNCH）（1969）和帕特·加勒特（PAT GARRETT）和《比利的孩子》（BILLY THE KID）（1973）。非法神话的风格跨度；除其他成就外，他们提高了不敬圣礼的程度，即相互尊重的男性姿态取代了对死亡的恐惧。他的《半西方人》，《电缆猪排》（1970年）和导演的个人喜好《少年邦纳》（1972年），扩展了他的主题：面对现代世界，高尚生活方式的消亡。《盖塔威》（1972年）和《康沃伊》（1978年）将当代的反英雄思想置于法律之外。也许他最有争议的电影是《稻草人》（1971）。其主人公不可避免的残酷对待，表面上是有理性的人，这隐喻了人类心理相对于个人领土和血腥仪式的古老倾向。带我到阿尔弗雷多·加西亚（1974）的头，据传是自传，是通过龙舌兰酒阴霾折射的精神剧情，龙舌兰/艺术家的传奇故事，他在绝望的赎罪旅程中获得了怪诞的工资。佩金帕对决策者的不信任反映在《杀手精英》（1975）和他的上一部电影《奥斯丁周刊》（1983）上，这两个文章都涉及中央情报局的恶性战术和放荡的友谊。佩金帕（Peckinpah）最大的作品《铁十字》（CROSS OF IRON）（1977年），是对第二次世界大战屠杀的激烈编辑，其中国防军穿着他尊贵的杀手的专利疤痕。很少有导演与工作室负责人和制片人发生过比佩金帕更大的冲突。好莱坞传奇的人物包括“大邓迪”（后来的佩金帕被列入黑名单三年），“狂野邦奇”和“帕特·加雷特和比利小子”（1973年）的内容和最终剪辑。人们对他的作品的批评反应常常和电影本身一样激烈，而佩金帕经常被指责贬低妇女和夸奖男性剥削。从美学的角度来看，佩金帕以慢动作的愤怒而闻名，他最早是在1963年在电视的“迪克·鲍威尔剧院”（Dick Powell Theatre）的影片《失败者》（The Losers）中使用的，在《狂野大逃杀》中发挥了惊人的作用，但在随后的作品中却被过度使用。“天主教暴力”这个词似乎是用来定义他的反传统姿势的。在Peckinpah'Sam Peckinpah was a paradox who both cultivated and disdained his own legend as one of Hollywood's most difficult directors, his often violent films evoked strong responses and varied, almost contradictory, readings. Born to a California legal clan, Peckinpah served in the Marine Corps and earned a master's degree from USC in 1950. He spent his early career as a theater and television director before becoming an assistant on five films to director Don Siegel, famed for his hard-bitten action films (Peckinpah even played a small part in Siegel's INVASION OF THE BODY SNATCHERS, 1956). Peckinpah soon became associated with the western genre, writing and directing episodes of "Gunsmoke," "The Rifleman," "The Westerner" and other TV series. His 1957 script on the legend of Billy the Kid eventually became, without his participation and with many changes, Marlon Brando's eccentric ONE-EYED JACKS (1961). Peckinpah's first film as a director, THE DEADLY COMPANIONS (1961), plus RIDE THE HIGH COUNTRY (1962), MAJOR DUNDEE (1965), THE WILD BUNCH (1969) and PAT GARRETT AND BILLY THE KID (1973) form an arc in the stylistic span of outlaw mythology; among other accomplishments, they raised to the level of perverse sacrament the male gesture of mutual respect that supersedes fear of death. His "semi-westerns," THE BALLAD OF CABLE HOGUE (1970) and the director's personal favorite, JUNIOR BONNER (1972), extended his theme of the demise of a noble way of life in the face of a modern world. THE GETAWAY (1972) and CONVOY (1978) put contemporary anti-heroes ahead of as well as outside the law. Perhaps his most controversial film was STRAW DOGS (1971); the inevitable brutality of its protagonist, ostensibly a man of reason, offers a metaphor on the ancient bent of the human psyche vis-à-vis personal territory and blood rites. BRING ME THE HEAD OF ALFREDO GARCIA (1974), reputedly autobiographical, was a psychodrama refracted through a tequila haze, a saga of a loner/artiste who reaps the grotesque wages of sin on a desperate trek of atonement. Peckinpah's distrust of policymakers was reflected in THE KILLER ELITE (1975) and his last film, THE OSTERMAN WEEKEND (1983), both essays on vicious tactics and dissolute friendship in the CIA. CROSS OF IRON (1977), Peckinpah's largest production, is a fiercely edited view of World War II slaughter where the Wehrmacht wear the patented scars of his honorable killers. Few directors have had more conflict with studio heads and producers than Peckinpah. Feuds over the content and final cuts of MAJOR DUNDEE (after which Peckinpah was blacklisted for three years), THE WILD BUNCH and PAT GARRETT AND BILLY THE KID (1973) are the stuff of Hollywood legend. Critical response to his work has often been as violent as the films themselves, with Peckinpah frequently berated for demeaning women and excessively glorifying male exploits. On an aesthetic level, Peckinpah is celebrated for his slow motion furies, first employed in a 1963 entry of TV's "Dick Powell Theater" called "The Losers," exercised to startling effect in THE WILD BUNCH, but somewhat overused in subsequent work. "Cathartic violence" was a term that seemed coined to define his iconoclastic postures. In Peckinpah's Conradian scheme that mixes nobility with tragedy, all are guilty to some degree and all have their reasons. His work typically exists on a skewed moral plane between eras and cultures, with ambiguous quests for identity and redemption undertaken by hopelessly lost outcasts and enemies. He vividly defines the thin line between internal conflict and external action, and, perhaps most importantly, the violent displacement of a false code of honor (and law itself) by another more enduring and devout. As thorny as his relationships with producers and executives were, Peckinpah could inspire extraordinary loyalty among actors and technicians. An ensemble of notable Peckinpah players would include David Warner, Warren Oates, L.Q. Jones, Strother Martin, James Coburn, Kris Kristofferson and Ben Johnson. Peckinpah also enjoyed repeated and fruitful collaborations with cinematographers Lucien Ballard and John Coquillon and composer Jerry Fielding.This is part of the Moving Pictures television series devoted to cinema that aired on BBC 2 from 1991 to 1996. There is some difference in this edition from the original, scenes from other movies that originally appeared in the film have been edited out. The original length of the documentary is about 86-minutes, but without the movie scenes this runs at about 82-minutes. The story begins from his childhood and then soon moves through his acting career, with interviews from family and friends, including James Coburn, Kris Kristofferson, Jason Robards and a many others. It also covers his views of women, the ways of directing his actors and then also touches on his alcohol and drug problem.Executive Producer for Moving Pictures: Daniel WolfSeries Producer: Paul KerrDirected by: Paul JoyceLucida Productions for BBC Television in association with the Arts and Entertainment Network (1991)
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【技术参数】——
视频编码: XviD ISO MPEG-4
比特率: 1188 kbps
Video 分辨率: 704x544
Video 画面比例: 1.294:1
帧速率: 29.970
音频编码: 0x2000 (Dolby AC3) AC3
音频比特率: 128kb/s CBR 48000 Hz
音频串流: 1
音频语言: english
分集时长: 1:22:21
分集数: 1
体积: 820,215,938 Bytes
发布人：: DocFreak08【Technical Specs】——
Video Codec: XviD ISO MPEG-4
Video Bitrate: 1188 kbps
Video Resolution: 704x544
Video Aspect Ratio: 1.294:1
Frames Per Second: 29.970
Audio Codec: 0x2000 (Dolby AC3) AC3
Audio Bitrate: 128kb/s CBR 48000 Hz
Audio Streams: 1
Audio Languages: english
RunTime Per Part: 1:22:21
Number Of Parts: 1
Part Size: 820,215,938 Bytes
Ripped by: DocFreak08
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相关纪录片：
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Links
Release Post
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