Cowritten by Andie Yam

由安迪(Andie Yam)撰寫

Data visualization is a great way to celebrate our favorite pieces of art as well as reveal connections and ideas that were previously invisible. More importantly, it’s a fun way to connect things we love — visualizing data and kicking up our feet for a movie night. All week, Nightingale is exploring the intersections between data visualization and all kinds of entertainment.

數據可視化是慶祝我們最喜歡的藝術品以及揭示以前不可見的聯系和想法的好方法。 更重要的是，這是連接我們喜歡的事物的一種有趣方式-可視化數據并為電影之夜踢起腳來。 整個晚上，夜鶯都在探索 數據可視化與各種娛樂之間 的 交集 。

What do the films Night of the Demon [a], Spartacus, The Great Escape, and Dr. No have in common? Similarly, do the television shows Doctor Who, Danger Man, The Man from U.N.C.L.E, and The Saint have a connection? The answer to both questions is: yes and all main or supporting actors starred in the same film previously in their acting careers. For a seemingly disparate set of movies and televisions shows, what film could have connected such a pool of talent?

w ^帽子做電影的惡魔之夜 [A]， 斯巴達克斯 ， 勝利大逃亡，并沒有醫生有什么共同點？ 同樣，電視節目《 神秘博士》 ，《 危險男人》 ， 《 UNCLE的男人》和《圣人》有聯系嗎？ 這兩個問題的答案是：是的，所有主要演員或配角在其表演生涯中都曾出演過同一部電影。 對于看似截然不同的電影和電視劇集，有哪部電影可以吸引如此多的才華呢？

To answer these questions, one would need to watch numerous films and TV shows, collect a lot of data, and then use an appropriate data visualisation to illustrate these relationships. There are many types of charts one could use to represent connections or relationships. For example, arc, chord, and network diagrams are used to show interconnections between entities, while a Sankey chart is used to show relationship flows across a system.

為了回答這些問題，人們將需要觀看大量的電影和電視節目，收集大量數據，然后使用適當的數據可視化來說明這些關系。 可以使用多種類型的圖表來表示聯系或關系。 例如，弧線圖，和弦圖和網絡圖用于顯示實體之間的互連，而桑基圖用于顯示整個系統之間的關系流。

Irrespective of the chart type, data visualisation is frequently used to discover insights that may lay buried within a mountain of structured or unstructured data. In the realm of entertainment, data visualisation can be used to answer multiple questions, such as the relationship between names in movies vs. real life or the distribution of dialogue in films by age and gender.

無論圖表類型如何，數據可視化通常用于發現可能隱藏在大量結構化或非結構化數據中的洞察力。 在娛樂領域，數據可視化可用于回答多個問題，例如電影中的名字與現實生活之間的關系或電影 中對話的年齡和性別分布 。

Throughout this article, we shall study the U.K. film called Hell Drivers from 1957 and show how to use an effective data visualisation to tell a story about this film and the actors that starred in it. Our research answers two questions: (a) Did the actors from Hell Drivers go on to appear in a more successful television show or movie? and (b) Can we create a novel type of data visualisation to show the relationships between actors and career trajectory?

在整篇文章中，我們將研究1957年以來的英國電影《 地獄司機》 ，并展示如何使用有效的數據可視化方式講述這部電影及其主演的故事。 我們的研究回答了兩個問題：(a) 地獄司機的演員是否繼續出現在更成功的電視節目或電影中？ (b)我們是否可以創建一種新型的數據可視化來顯示演員與職業軌跡之間的關系？

In the next section, we shall take a look at previous work in the realm of data visualisation for movies and TV and review the types of charts one could use to chart relationships between actors.

在下一節中，我們將看一下電影和電視數據可視化領域中的先前工作，并回顧人們可以用來繪制演員之間關系的圖表類型。

背景 (Background)

In this section, we shall take a look at the evolution of the solar chart; this chart type was our final choice to plot relationships within our dataset. Additionally, we shall provide a summary of some of the more important uses of data visualisation within the domain of film and tv analysis.

在本節中，我們將看一下太陽圖的演變； 這種圖表類型是我們在數據集中繪制關系的最終選擇。 此外，我們將總結電影和電視分析領域中數據可視化的一些更重要用途。

太陽圖 (Solar Chart)

We use a solar chart to plot the relationship of heavenly bodies (planets and satellites) around a central star in a circular or elliptical orbit. The history of celestial cartography dates back almost 3500 years. The earliest star atlas date back to the 15th century BCE. The Egyptian tomb known as Theban Tomb TT71 contains the first known star chart, although only fragments of this chart remain today.

我們使用太陽圖繪制圓形或橢圓形軌道上圍繞恒星的天體(行星和衛星)之間的關系。 天體制圖的歷史可以追溯到大約3500年。 最早的星圖集可追溯到公元前15世紀。 埃及的Theban Tomb TT71陵墓包含第一個已知的星圖，盡管今天只剩下該星圖的一部分。

Before 1543, it was generally accepted that the Sun and other known planets revolved around the Earth, this theory was known as the geocentric model. This model was developed in ancient Greece and Rome.

1543年之前，人們普遍認為太陽和其他已知行星圍繞地球旋轉，這一理論被稱為地心模型。 此模型是在古希臘和羅馬開發的。

Nicolaus Copernicus a renaissance astronomer published this seminal work in 1543 called “On the Revolutions of the Heavenly Spheres”, which contained the heliocentric model; the Earth and other known planets revolve around the Sun rather than the Sun and other planets revolving around the Earth (the opposite of the geocentric model). Figure 1 below shows an illustration of a chart from his book. While the chart design has gone through many improvements over the centuries, the basic design has remained the same.

文藝復興時期的天文學家尼古拉·哥白尼(Nicolaus Copernicus)在1543年發表了這項開創性的著作，名為《 論天球的革命 》，其中包含日心說模型。 地球和其他已知行星繞著太陽旋轉，而不是太陽和其他行星繞著地球旋轉(與地心模型相反)。 下面的圖1顯示了他的書中圖表的圖示。 幾個世紀以來，圖表設計經歷了許多改進，但基本設計保持不變。

影視數據可視化的著名示例 (Notable examples of Movie and TV data visualisation)

Given the number of movies and TV shows that have been created over the last 70 years, a large volume of data is now available. Here we consider some examples of how data visualisation is used.

考慮到過去70年來制作的電影和電視節目的數量，現在可以獲得大量數據。 在這里，我們考慮一些如何使用數據可視化的示例。

Kim Albrecht uses data visualisation to explore the realms of culture, science and technology. Between 2013–2014, Kim studied the influence and the exchange of cultural references within movies over the past one hundred years. Kim’s charts illustrate the complicated relationship of movie references by using a network and edge-bundling graphs to create a ‘culture-graph’. The culture-graph shows which cite and reference older films as part of a postmodernist style.

Kim Albrecht使用數據可視化來探索文化，科學和技術領域。 在2013年至2014年期間，Kim研究了過去一百年來電影中文化參考的影響力和交流。 金的圖表通過使用網絡和邊緣捆綁??圖創建“文化圖”來說明電影參考的復雜關系。 文化圖顯示了哪些引用和引用了較老的電影，作為后現代主義風格的一部分。

Jeff Clark is a visualisation designer that has created many infographics around cultural data. His work covers a multitude of themes including analysis of Grimm Fairy Tales, analysis of Twitter data and visual book selection. In 2013 Jeff created a series of visual fingerprints of all six currently released Star Wars films. The idea was to create a thumbnail image at one-second intervals to give a visual overview of the film.

Jeff Clark是一位可視化設計師，他圍繞文化數據創建了許多圖表。 他的作品涵蓋了多個主題，包括對《格林童話》的分析，對Twitter數據的分析和視覺書籍的選擇。 2013年，杰夫為《星際大戰》目前上映的全部六部電影制作了一系列視覺指紋 。 想法是每隔一秒鐘創建一個縮略圖，以提供影片的視覺概覽。

If we look at the image for The Empire Strikes back we can see the first third of the movie has colours of blue and white depicting the battle of Hoth, while the darker middle third illustrates the dual story of Luke on Dagobah and Han & Leia being pursued by the Empire. The final act is a mixture of colours, depicting the exterior and interior of the cloud city on Bespin.

如果我們看一下《帝國反擊》的圖像，我們可以看到電影的前三分之一具有藍色和白色的顏色，描繪了霍斯的戰役，而較暗的中三分之一則說明了盧克在達哥巴和漢·萊亞的雙重故事被帝國追趕。 最后一幕是多種顏色的混合，描繪了貝斯平云城的外部和內部。

Our third and final example relates to a cult TV show called Buffy the Vampire Slayer. Esteve Boix created a series of visualisations from data associated with the first season of the show. At a season level, the charts show the minutes of screen time each of the main characters appeared for and the number of human & vampire fatalities per show.

我們的第三個也是最后一個示例與一個名為“吸血鬼殺手巴菲(Buffy the Vampire Slayer)”的邪教電視節目有關。 Esteve Boix通過與展覽第一季相關的數據創建了一系列可視化效果。 在一個季節級別，圖表顯示每個主角出現的放映時間(分鐘)以及每個表演中的人與吸血鬼死亡人數。

One can drill down to an episode view, and determine visually when each character first appears in an episode and what location. Figure 4 below shows an example of this output.

可以深入到情節視圖，并從視覺上確定每個角色何時出現在情節中以及什么位置。 下面的圖4顯示了此輸出的示例。

In this section, we covered the background in two areas; the types of charts that can be used to show relationships between data sources (along with a potted history) and some examples of how data visualisation can be used to create visual stories from cultural data.

在本節中，我們在兩個方面介紹了背景知識。 可以用來顯示數據源之間的關系的圖表類型(以及填充歷史記錄)，以及如何使用數據可視化從文化數據創建視覺故事的一些示例。

In the following section, we shall explore our storytelling methodology and the decisions we took to arrive at our final chart destination.

在下一節中，我們將探討講故事的方法以及為到達最終圖表目的地所采取的決策。

數據集和方法 (Dataset and Method)

Visualisation of cultural data can be a useful way to provide insights into the links between films and how characters interact with each other within movies and TV shows. There are many different ways cultural entities can be illustrated.

可視化文化數據可能是一種有用的方法，可提供有關電影之間的鏈接以及角色在電影和電視節目中如何相互作用的見解。 有多種不同的方式可以說明文化實體。

For our study, we chose a film called Hell Drivers — an all-time classic British crime drama about an Ex-con trucker trying to expose his boss’s corrupt acts, and analysed the main 15 actors that appeared in it. We also looked at their subsequent appearances in a TV show or movie. We wanted to use each actor’s filmography to answer the following questions. First, did an actor from Hell Drivers go on to appear in a more successful (in terms of IMDB rating) film or TV show later in their career? Second, if so, what was the name of the movie/TV show? Third, how long did it take them to appear in a more successful film?

在我們的研究中，我們選擇了一部名為《 地獄司機》的電影，這是一部歷史悠久的經典英國犯罪電視劇，講述的是一名前任卡車司機試圖揭露其老板的腐敗行為，并分析了其中出現的主要15位演員。 我們還查看了他們在電視節目或電影中的后續露面。 我們希望利用每個演員的電影作品來回答以下問題。 首先， 地獄車手的演員在職業生涯后期是否繼續出現在更成功的電影或電視節目中(根據IMDB評分)？ 其次，如果是這樣，電影/電視節目的名稱是什么？ 第三，他們花了多長時間才出現在更成功的電影中？

With the data collected and analysed and with our research questions known, the next step was to determine the most appropriate chart type. As we shall see in our next section, the path to finding our preferred visualisation took us on an interstellar journey.

利用收集和分析的數據以及已知的研究問題，下一步就是確定最合適的圖表類型。 正如我們將在下一部分中看到的那樣，找到首選視覺效果的途徑使我們踏上了星際之旅。

結果與討論—圖表 (Results and Discussion — The Chart)

Often, inspiration can come from a variety of sources; it may be a word or phrase that a colleague, family member or friend says that can kickstart a train of thought. Initially, the idea for this study started with the words “Mighty oaks from little acorns grow.” We felt it was quite apt given that a film, while highly rated on IMDB, and the wealth of talent on show, was not one that would be readily discussed as part of top U.K. films of the 1950s[b].

通常，靈感可以來自多種來源。 同事，家人或朋友說的一個字或詞組可以激發思路。 最初，這項研究的想法始于“ 小橡子生長出的強大橡樹”。 鑒于這部電影雖然在IMDB上享有很高的評價，而且所展現的才華不菲，但作為1950年代英國頂級電影的一部分，不容易討論。[b]

鉛筆和紙質原型 (Pencil and paper prototypes)

Our prototype was a riff off a metro style graph, actor ‘lines’ would travel to an outer ‘bud’ that depicts the movie or TV show. Some tangential connections were made but subsequently removed from later versions of the chart (e.g. Wesley Pithey appeared in The Saint alongside Roger Moore, who took over from Sean Connery after Diamonds are forever.)

我們的原型是地鐵風格圖表的即興片段，演員“線條”將移動到描述電影或電視節目的外部“預算”。 進行了一些切向的聯系，但隨后從圖表的更高版本中刪除了(例如，韋斯利·皮特(Wesley Pithey)和羅杰·摩爾(Roger Moore)一起出現在《 圣人》中 ，后者在鉆石永遠出現之后從肖恩·康納利(Sean Connery)接管了。

Our second version keeps the tree and seed motif to a degree; in this version, we start with a central flower ‘pistil’ to provide a central orientation. We wanted to give the idea that each of the more famous films was an offspring of Hell Drivers.

我們的第二個版本在一定程度上保持了樹木和種子的主題。 在此版本中，我們從中心花“雌蕊”開始，以提供中心定位。 我們想給出的想法是，每部更著名的電影都是《 地獄司機》的后代。

At this point no timeline was encoded into the chart, nor could we discern the rating of each offspring film using this type of diagram. It is these problems that we addressed in the third iteration of our chart.

此時，沒有時間表被編碼到圖表中，我們也無法使用這種類型的圖表來識別每個后代電影的評級。 這些問題是我們在圖表的第三次迭代中解決的。

轉向Illustrator (A move to Illustrator)

In the next iteration, we wanted to move to a computer-generated version of the chart. We wanted to expand on the idea of the Hell Drivers, being at the centre of the chart, with successive films radiating away. Intuitively we thought of solar system charts from our classrooms and childhood astronomy books. However, we were not aware of any charting library[c] using Python or R programming languages that could generate such a chart.

在下一次迭代中，我們希望移至圖表的計算機生成版本。 我們想擴展“ 地獄驅動者”的概念，該概念位于圖表的中心，并且連續不斷地散布著電影。 直觀地，我們想到了教室和童年天文學書籍中有關太陽系的圖表。 但是，我們不知道使用Python或R編程語言的任何圖表庫[c]都可以生成此類圖表。

Figure 7 below shows an early iteration, using a new solar motif. Once again Hell Drivers is placed at the centre of the chart. We also plotted the years of satellite films as orbit paths around our centre. Furthermore, we added the name of the film / TV show as a text label and added the IMDB rating. Finally, a simple black and grey colour scheme was introduced to align with the film being shot in black and white.

下面的圖7顯示了使用新的太陽能圖案的早期迭代。 地獄驅動程序再次位于圖表的中心。 我們還繪制了衛星電影作為中心周圍軌道路徑的年份。 此外，我們將電影/電視節目的名稱添加為文本標簽，并添加了IMDB分級。 最后，介紹了一種簡單的黑白配色方案，以與以黑白方式拍攝的膠片對齊。

However, questions arose as part of the solar design. First, where could we encode the actor that appeared in each satellite film? Second, if all satellites were coloured grey, we would have issues with discriminability. Third, a static chart felt too stationary. We wondered if we could move to a dynamic aesthetic: Could our chart show a trajectory of each satellite film radiating from the centre?

然而，問題出現在太陽能設計中。 首先，我們可以在哪里編碼每部衛星電影中出現的演員？ 其次，如果所有衛星都是灰色的，我們將面臨可辨別性的問題。 第三，靜態圖表感覺太固定了。 我們想知道是否可以轉向動態美學：我們的圖表能否顯示出從中心輻射的每個衛星電影的軌跡？

With these open questions, we decided to abandon our chart design in Illustrator and move to a framework that affords dynamic visualisation of data.

面對這些懸而未決的問題，我們決定放棄Illustrator中的圖表設計，而轉向提供動態數據可視化的框架。

使用JavaScript動態 (Dynamic with JavaScript)

Javascript is a high-level programming language that is used for designing and developing interactive web pages. Given our need to move to an interactive design, it seemed intuitive to use JavaScript.

Javascript是一種高級編程語言，用于設計和開發交互式網頁。 考慮到我們需要轉向交互式設計，使用JavaScript似乎很直觀。

Figure 8 above shows a screenshot of our solar chart using Javascript. As you can see, we kept some features from the design formulated with Illustrator. Hell Drivers appears in the centre. The years that actors appeared in a higher ranked film appear as ‘heliocentric orbits’.

上面的圖8顯示了使用Javascript的太陽能圖表的屏幕截圖。 如您所見，我們保留了Illustrator制定的設計中的某些功能。 地獄司機出現在中間。 演員出現在較高級別電影中的年份被稱為“日心軌道”。

A new feature of this chart was to colour code the satellites by colour; we felt the use of colour would provide a level of discriminability not seen previously. Additionally, we added a range of colour hues to distinguish where actors appeared in distinct films / TV shows in the same year. We also added a legend that encodes this information, using the Gestalt theory of association (The legend text and symbols match the same colour as the chart satellites).

該圖表的新功能是按顏色對衛星進行顏色編碼。 我們認為使用顏色會提供一定程度的可分辨性。 此外，我們添加了一系列顏色，以區分演員在同一年出現在不同電影/電視節目中的位置。 我們還使用格式塔關聯理論添加了一個圖例，用于對這些信息進行編碼(圖例文本和符號與圖表衛星的顏色相同)。

The animation effect (which can be viewed on Jonathan’s GitHub repro) shows the many coloured satellites orbiting our central ‘star’. We added a stepped rotation speed to ensure that the inner satellites did not travel too fast relative to each outer moon.

動畫效果(可以在Jonathan的GitHub repro上查看)顯示了繞著我們中心“星星”旋轉的許多彩色衛星。 我們增加了步進轉速，以確保內部衛星相對于每個外部衛星的行進速度不會太快。

However, we felt we could improve the intuition of the chart further. Rather than have each satellite film/TV show start at a predetermined point on their orbit; we made a change to each satellite starting point.

但是，我們認為我們可以進一步改善圖表的直覺。 并非每個衛星電影/電視節目都在其軌道上的預定點開始； 我們對每個衛星起點進行了更改。

The idea was to start each satellite film/TV show at the centre of our central star film, then radiate each satellite along a spiral path to each destination orbit. The effect is best observed. Figure 9 below shows a snapshot in time of the satellites on their journey to reach their respective geostationary orbits.

這個想法是在我們的中央星片的中心開始每個衛星電影/電視節目，然后沿著螺旋路徑向每個目標軌道輻射每個衛星。 效果最佳。 下面的圖9顯示了衛星到達其對地靜止軌道時的時間快照。

At this point, we reach the end of our interstellar visualisation journey before we conclude we provide a short discussion on how our chart was able to answer our research questions.

至此，我們結束了星際可視化旅程的結尾，然后得出結論，簡短討論了我們的圖表如何回答我們的研究問題。

結果與討論—地獄司機之后發生了什么？ (Results and Discussion — What happened after Hell Drivers?)

Previously, we mentioned that the primary motivation for creating our solar chart was to visualise how actors that starred in Hell Drivers went on to more successful roles in their future acting career. Let us consider how each of the leading and supporting cast went on to at least one more successful role in film or T.V.

之前，我們曾提到創建太陽圖表的主要動機是形象化地獄車手出演的演員如何在他們未來的演藝事業中扮演更成功的角色。 讓我們考慮一下，每一個領導和支持演員如何在電影或電視中至少扮演一個成功的角色

By 1957 Irish actress Peggy Cummins had already made many appearances in film roles, most notably Gun Crazy — A film noir from 1950. However, one year after Hell Drivers, Peggy appeared in The Night of the Demon (Rated 7.5) — a classic adaptation of M.R James ghost story: The casting of the Runes.

到1957年，愛爾蘭女演員佩吉·康明斯 ( Peggy Cummins )已經出演了許多電影角色，其中最著名的是《 槍瘋狂》 ( Gun Crazy) – 1950年的電影黑色。然而，在《 地獄司機》 (Helll Drivers)發行一年之后，佩吉出演了《惡魔之夜》 (Rated 7.5) –經典改編。 James鬼故事的故事： 符文的鑄造 。

Herbert Lom had appeared in over forty films by the time Hell Drivers was released including the well regarded Ealing back comedy The Lady Killers in 1955. In 1960 he had a supporting role in Stanley Kubrick’s ‘sword-and-sandal’ epic Spartacus (7.9).

赫爾伯特·洛姆(Herbert Lom )在地獄司機 ( Hell Drivers )發行時已經出現在40多部電影中，其中包括1955年備受贊譽的Ealing喜劇《殺手》 ( The Lady Killers )。1960年，他在斯坦利·庫布里克(Stanley Kubrick)的《劍與劍》史詩《斯巴達克斯(Spartacus)》(7.9)中擔任配角。

Also in 1960 Patrick McGoohan and George Murcell appeared in the espionage themed T.V. called Danger Man (7.9). Patrick played the lead role of N.A.T.O. agent John Drake as he battles subversive powers that would challenge world peace. George meanwhile had a small supporting role in one episode. Danger Man led in part to Patrick being cast in the late 1960s cult T.V. show The Prisoner.

同樣在1960年， 帕特里克·麥高漢 ( Patrick McGoohan)和喬治·默塞爾 ( George Murcell)出現在名為“ 危險人 ( Danger Man ) ” (7.9)的間諜主題電視中。 帕特里克(Patrick)扮演北約特工約翰·德雷克(John Drake)的主角，他在與顛覆大國作斗爭，挑戰世界和平。 同時，喬治在一集節目中只扮演了很小的角色。 危險人部分地導致了帕特里克在1960年代后期的邪教電視節目“囚徒”中的演出。

Sidney James achieved early success in the mid to late 1950s as Tony Hancock’s sidekick in Hancock’s Half Hour. Once that show ended, Sid appeared in his T.V. comedy show called Citizen James (7.2[d]) in 1960. Sid would go on to appear in many films throughout the 1960s and early 1970s mainly in the Carry On series.

悉尼·詹姆斯(Sidney James)在1950年代中期至后期取得了成功，這是托尼·漢考克(Tony Hancock)在漢考克( Hancock)的Half Hour(半小時)中的同伴。 演出結束后，席德(Sid)于1960年出現在他的電視喜劇節目《 公民詹姆斯 ( Citizen James)》 (7.2 [d])中。席德(Sid)繼續出現在整個1960年代和1970年代初期的許多電影中，主要是在《 隨身攜帶》系列中。

By 1957 William Hartnell had made over sixty film and T.V. appearances. It is his 1963 appearance in the title role in Doctor Who (8.3), that he is most famous. William appeared in the show for three years as a space and time-travelling hero, solving problems and defeating enemies quite literally across time and space.

到1957年， 威廉·哈特內爾(William Hartnell)出演了60 多次電影和電視節目。 最著名的是他1963年在《神秘博士》 (8.3)中擔任主角的時候。 威廉作為一名時空穿越時空的英雄出現在該節目中三年了，解決了難題并在時空上擊敗了敵人。

Born in Glasgow, Gordon Jackson had numerous supporting roles before appearing in Hell Drivers in 1957. By 1962 Gordon appeared in another supporting role in The Mutiny on the Bounty (7.3) alongside Marlon Brando. However, it is his 1963 role as a prisoner of war intelligence officer that he will be most remembered. Alongside an all-star cast, he appeared in The Great Escape (8.3) as a would-be escapee, in one of the most significant prison breaks of World War 2.

戈登·杰克遜 ( Gordon Jackson)生于格拉斯哥，曾在1957年出演地獄車手之前擔任過許多配角。到1962年，戈登(Gordon)與馬龍·白蘭度(Marlon Brando)一起出演了《賞金叛變》 (7.3)。 然而，他將最令人難忘的是他1963年作為戰俘情報官的角色。 與全明星陣容一起，他在第二次世界大戰中最重要的一次監獄休息中，以潛在的逃脫者身份出現在《大逃亡》 (8.3)中。

Ten years his junior; David McCallum (also born in Glasgow) in his fifth role appeared in Hell Drivers. It would take David little time to achieve more success; he had a small role in the 1958 story of the Titanic tragedy A Night to Remember (7.9) as an assistant radio operator. Moving on to 1962 David had another supporting role in the naval drama Billy Budd (7.8). Like his fellow Glaswegian, David appeared alongside Gordon Jackson in The Great Escape (8.3) as an officer responsible for the dispersion of tunnel materials. Finally, both David and Gordons characters join the same escape team. How is that for coincidence!

大三十年； 大衛·麥卡勒姆 ( David McCallum) (也出生于格拉斯哥)在第五任角色中出現在《 地獄司機》中 。 David只需很少的時間就可以取得更大的成功。 他在1958年的《泰坦尼克號悲劇：要記住的一夜》(7.9)中擔任助理無線電操作員，扮演著很小的角色。 到1962年，大衛在海軍戲劇《 比利·巴德 ( Billy Budd)》 (7.8)中扮演了另一個輔助角色。 像他的格拉斯哥人一樣，戴維與戈登·杰克遜一起出現在《大逃亡》 (8.3版)中，擔任負責散布隧道材料的軍官。 最后，戴維(David)和戈登(Gordons)角色都加入了同一個逃生小組。 這是巧合！

Another fellow Scotsman, Sean Connery, needs little introduction, due to his appearances as James Bond during the 1960s and early 1970s. Before Hell Drivers, he appeared in a handful of T.V. shows playing small supporting roles. Indeed Sean appears as a minor character representing one of the Hell Drivers.

另一個蘇格蘭人肖恩·康納利 ( Sean Connery )不需要介紹，因為他在1960年代和1970年代初期出任詹姆斯·邦德(James Bond)。 在《 地獄司機》之前，他曾在少數電視節目中扮演輔助角色。 確實，肖恩(Sean)只是作為次要角色而代表地獄司機之一。

Fast forward to 1959, Sean was able to match his earlier success by playing a leading (Love Interest ) role in the film Darby O’Gill and the Little People (7.2). In 1962 Sean appeared in The Longest Day (7.8); a film about the D-Day landings in France. It should be noted that his role as a Private was relatively minor. That leads us to his appearance as the British agent James Bond in Dr. No (7.2) also from 1962. After that, he reprised his role as the spy a further five times before moving on to mainstream parts.

快進到1959年，肖恩(Sean)通過在電影《 達比·奧吉爾和小人物》 (7.2)中扮演主角(《愛情趣味》)來表現自己的早期成就。 1962年，肖恩(Sean)出現在《最長的一天》 ( The Longest Day) (7.8)中； 關于法國登陸日登陸的電影。 應當指出，他作為私人的角色相對較小。 這也使我們從1962年開始擔任英國特工詹姆斯·邦德(Dr. No. 7.2)的職務。在那之后，他又作了5次間諜活動，隨后又成為主流。

By 1957, Stanley Baker had been acting for fourteen years, while his roles were mainly supporting lead characters he played a variety of parts. Hell Drivers saw Stanley appear in his first lead role proper. His role as Tom Yateley, the ex-con, looking to make good, was duly noted and many leading roles followed.

到1957年， 史丹利·貝克 ( Stanley Baker )表演了十四年，而他的角色主要是支持主角，他扮演了各種角色。 地獄車手看到斯坦利(Stanley)出演了他的第一任主角。 他的前任湯姆·亞特利(Tom Yateley)的角色希望變得很好，因此受到了充分的重視，隨后擔任了許多主角。

In 1960 he played leading roles on both sides of the law; Hell is a City (7.1) and The Concrete Jungle (6.9). One year later, in 1961, he appeared as a supporting character in the World War 2 blockbuster, The Guns of Navarone (7.8). Arguably the peak of Stanley’s career came two years later when he played Lieutenant John Chard, as a leader of a small band of British soldiers who battled Zulus at Rorke’s Drift in the film Zulu (7.7) [e].

1960年，他在法律的兩方面都發揮了領導作用。 地獄是一座城市 (7.1)和混凝土叢林 (6.9)。 一年后的1961年，他出演了第二次世界大戰的大片《納瓦隆大炮》 (7.8)。 可以說，兩年后，當斯坦利扮演約翰·查德中尉時，斯坦利的事業達到了頂峰。他是一小隊英國士兵的領袖，他們在影片《祖魯人》(7.7)中在羅爾克的漂流中與祖魯人作戰。

Born in 1900 Wilfrid Lawson appeared in many leading roles in the 1930s and 1940s. By 1957, he was in the twilight of his career as a character actor. However, in 1964, he had one last brush with greatness; appearing alongside Richard Burton and Peter O’Toole in the film medieval historical biopic Beckett.

威爾弗里德·勞森(Wilfrid Lawson)出生于1900年，在1930年代和1940年代曾擔任許多主角。 到1957年，他已成為演員的職業生涯。 然而，在1964年，他最后一次獲得了偉大的勝利。 與理查德伯頓(Richard Burton)和彼得奧圖爾(Peter O'Toole)一起出現在中世紀歷史傳記電影貝克特(Beckett)中 。

Jill Ireland began her acting career in 1955, with Hell Drivers being her eighth feature. Jill continued to appear in feature films until the early 1960s after that she starred in T.V. roles for some years. In 1964, she appeared in the international spy show The Man from U.N.C.L.E. (7.7) and would play three separate characters in the show over three years.

吉爾·愛爾蘭(Jill Ireland)于1955年開始演藝事業，她的第八部影片是《 地獄司機》 。 吉爾(Jill)繼續出現在故事??片中，直到1960年代初，她出演了電視角色多年。 1964年，她出現在國際間諜節目《 UNCLE的男人》 (7.7)中，并在三年中扮演三個獨立角色。

Jill met her future husband, David McCallum on the set of Hell Drivers, who would go on to play one of the leading roles as (Ilya Kuryakin) in The Man from U.N.C.L.E. Even more interestingly she met her second husband Charles Bronson on the set of the great escape, starring both Bronson and McCallum.

吉爾(Jill)在《 地獄司機》 ( Hell Drivers)中遇到了她未來的丈夫戴維·麥卡勒姆(David McCallum) ，她隨后繼續扮演《 UNCLE》 ( The UNCLE )中《男人》 (Ilya Kuryakin )的主角之一。更有趣的是，她在《 地獄司機》中遇見了第二任丈夫查爾斯·布朗森(Charles Bronson)。由布朗森和麥卡勒姆主演的大逃亡。

Alfie Bass appeared on screen in over one hundred features during his career. Hell Drivers being his sixty-fourth appearance. While his most illustrious appearances may have been behind him, he did star (albeit a minor role) in The Beatles second feature film Help! (7.2) in 1965.

阿爾菲·巴斯(Alfie Bass)在他的職業生涯中出現在屏幕上的一百多個功能中。 地獄車手是他的第六十四次出場。 盡管他最杰出的出場可能是在他身后，但他還是在甲殼蟲樂隊的第二部長片《 救命！》中出演了主角(盡管是次要角色) 。 (7.2)，1965年。

Born in South Africa in 1912, Wensley Pithey had an acting career spanned six decades. Already a third of the way through his acting career when he appeared in Hell Drivers, it would take his appearance in The Saint (7.5) as Inspector Claude Teal in 1963 achieve similar success.

溫斯利·皮特 ( Wensley Pithey)于1912年出生于南非，其表演生涯長達60年。 當他出現在《地獄車手》中時，已經占他演藝事業的三分之一，隨著他在1963年的督察員克勞德·蒂爾(Claude Teal)取得類似的成就，他將出現在《圣斗士》 (7.5)中。

Finally, Marjorie Rhodes was already a screen veteran when she appeared in Hell Drivers. Marjorie played numerous maternal characters throughout her career. It would take Marjorie the longest to achieve greater success than that of Hell Drivers. Nine years later, in 1966, Marjorie played the mother of Hywel Bennet’s character in The Family Way (7.3).

最終， 瑪喬莉·羅茲 ( Marjorie Rhodes )出演地獄司機 ( Hell Drivers)時已經是一名屏幕老手。 瑪喬莉(Marjorie)在整個職業生涯中扮演過許多母親角色。 要實現比地獄車手更大的成功，馬約里所需要的時間最長。 九年后的1966年，馬喬里(Marjorie)在“家庭之路 ( The Family Way)” (7.3)中飾演Hywel Bennet的角色之母。

Conclusion

結論

The purpose of this study/exercise etc. was to investigate what chart type would be most appropriate to illustrate the trajectory of a series of actors’ careers relative to a central film. We found that a Solar chart could be used to plot the ‘heliocentric orbit’ of a satellite film corresponding to a first movie.

本研究/練習等的目的是研究哪種圖表類型最適合說明相對于中央電影而言一系列演員的職業軌跡。 我們發現，太陽圖可以用來繪制與第一部電影相對應的衛星電影的“太陽向心軌道”。

Secondly, we also found that a JavaScript implementation was most appropriate to show these relationships. This clarity was due to the ability to show these relationships in a dynamic way. We suggest that the addition of dynamic motion improves the visual storytelling over a static chart.

其次，我們還發現JavaScript實現最適合顯示這些關系。 這種清晰性是由于能夠以動態方式顯示這些關系。 我們建議添加動態運動可以改善靜態圖表上的視覺故事。

DataViz practitioners can use our solar chart and methodology to plot ‘satellite relationships around a central star’. These relationship orbits portray the significant role that distinct movies play in an actor’s career, and how actors benefitted from the force of that central star to land on their next considerable part. The movement of each satellite mimics the journey taken by each actor; each rotational field shows that the actor has landed on the path of a new movie, via the force of Hell Drivers.

DataViz的從業人員可以使用我們的太陽圖和方法來繪制“ 圍繞一顆中心星的衛星關系 ”。 這些關系軌道描繪了不同電影在演員職業生涯中所扮演的重要角色，以及演員如何從這位中央明星的力量中受益，從而降落在他們的下一個重要部分。 每個衛星的運動都模仿每個演員的旅程。 每個旋轉場都表明演員通過地獄司機的力量降落在新電影的路徑上。

We observed that Hell Drivers appears as a footnote (or in some surveys not at all) in the appraisal of 1950s British cinema. From our research and DataViz output, we hope to re-address this imbalance, by illustrating this film’s true legacy: How a single film launched and progressed many actors careers.

我們觀察到，《 地獄司機 》在1950年代英國電影的評估中只是作為腳注(或在某些調查中根本沒有)。 通過我們的研究和DataViz的輸出，我們希望通過說明這部電影的真正遺產來重新解決這種不平衡：一部電影如何啟動和發展許多演員的職業生涯。

In future work, we shall continue to research additional techniques to visualise the film universe as a network of stars and planets linked together by its principal actors and crew members. Thus, helping better identify ‘central star’ movies, whether any of its actors went on to appear in a more successful film, and how long it took them to get there.

在未來的工作中，我們將繼續研究其他技術，以將電影宇宙形象化為由其主要演員和工作人員鏈接在一起的恒星和行星網絡。 因此，有助于更好地識別“中央明星”電影，是否有任何演員繼續出現在更成功的電影中，以及他們花了多長時間才到達那里。

We shall also consider future aesthetic improvements such as: illustrating a ‘satellite relationship’ to a central star then drawing connections linking both nodes together, either in the form of network links or ghost-trails. This enhancement may be useful as we delve deeper to show more than one’ central star’ and several ‘satellite relationships’ could be found. Keep watching the stars.

我們還將考慮未來的美學改進，例如：舉例說明與中心恒星的“衛星關系”，然后繪制將兩個節點鏈接在一起的連接，形式可以是網絡鏈接，也可以是鬼拖網。 當我們深入研究以顯示多個“中心星”并且可能發現多個“衛星關系”時，此增強功能可能會很有用。 繼續看星星。

Notes

筆記

[a] It was a common practice to rename films between the UK and US (For marketing purposes. In this case, we use the UK name “Night of the Demon” rather the US title “Curse of the Demon”

[a]在英國和美國之間重命名電影是一種常見的做法(出于營銷目的。在這種情況下，我們使用英國名稱“惡魔之夜”而不是美國名稱“惡魔詛咒”

[b] Hell Drivers did not appear at part of a poll (1000 members of the public) commissioned by the BFI in 1999 to survey the UK public as to their favourite British film, additionally, Hell Drivers does not appear on a list of top100 films as part of a survey (150 movie experts) conducted by Time Out magazine in 2011.

[B] 地獄驅動器沒有出現在調查的一部分(一般為1000名成員)于1999年的BFI調查英國公眾對他們喜愛的英國電影的委托，另外， 地獄驅動程序不會出現TOP100名單上電影是《 Time Out》雜志2011年進行的一項調查(150名電影專家)的一部分。

[c] We evaluated bokeh (Python), ggplot (R), plotly(Python, R and JavaScript) and seaborn (Python).

[c]我們評估了bokeh(Python)，ggplot(R)，plotly(Python，R和JavaScript)和seaborn(Python)。

[d] At time of analysis Jan-19 through to Apr-20, Citizen James rating remained static at 7.2. However, when checked in June-20, the show's rating had dropped to 7.0

[d]在分析期間(從1月19日至4月20日)，公民詹姆斯評級保持在7.2不變。 但是，在6月20日檢查時，該節目的評分已降至7.0

[e] Both Hell Drivers and Zulu starred Stanley Baker in the lead role and Cy Enfield as director.

[e] 地獄車手和祖魯人都由斯坦利·貝克(Stanley Baker)擔任主角，塞恩·菲爾德(Cy Enfield)擔任導演。