Cowritten by Andie Yam

由安迪(Andie Yam)撰写

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.

数据可视化是庆祝我们最喜欢的艺术品以及揭示以前不可见的联系和想法的好方法。 更重要的是，这是连接我们喜欢的事物的一种有趣方式-可视化数据并为电影之夜踢起脚来。 整个晚上，夜莺都在探索 数据可视化与各种娱乐之间 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 ^帽子做电影的恶魔之夜 [A]， 斯巴达克斯 ， 胜利大逃亡，并没有医生有什么共同点？ 同样，电视节目《 神秘博士》 ，《 危险男人》 ， 《 UNCLE的男人》和《圣人》有联系吗？ 这两个问题的答案是：是的，所有主要演员或配角在其表演生涯中都曾出演过同一部电影。 对于看似截然不同的电影和电视剧集，有哪部电影可以吸引如此多的才华呢？

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.

为了回答这些问题，人们将需要观看大量的电影和电视节目，收集大量数据，然后使用适当的数据可视化来说明这些关系。 可以使用多种类型的图表来表示联系或关系。 例如，弧线图，和弦图和网络图用于显示实体之间的互连，而桑基图用于显示整个系统之间的关系流。

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.

无论图表类型如何，数据可视化通常用于发现可能隐藏在大量结构化或非结构化数据中的洞察力。 在娱乐领域，数据可视化可用于回答多个问题，例如电影中的名字与现实生活之间的关系或电影 中对话的年龄和性别分布 。

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，我们将研究1957年以来的英国电影《 地狱司机》 ，并展示如何使用有效的数据可视化方式讲述这部电影及其主演的故事。 我们的研究回答了两个问题：(a) 地狱司机的演员是否继续出现在更成功的电视节目或电影中？ (b)我们是否可以创建一种新型的数据可视化来显示演员与职业轨迹之间的关系？

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.

在下一节中，我们将看一下电影和电视数据可视化领域中的先前工作，并回顾人们可以用来绘制演员之间关系的图表类型。

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.

在本节中，我们将看一下太阳图的演变； 这种图表类型是我们在数据集中绘制关系的最终选择。 此外，我们将总结电影和电视分析领域中数据可视化的一些更重要用途。

太阳图 (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.

我们使用太阳图绘制圆形或椭圆形轨道上围绕恒星的天体(行星和卫星)之间的关系。 天体制图的历史可以追溯到大约3500年。 最早的星图集可追溯到公元前15世纪。 埃及的Theban Tomb TT71陵墓包含第一个已知的星图，尽管今天只剩下该星图的一部分。

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，人们普遍认为太阳和其他已知行星围绕地球旋转，这一理论被称为地心模型。 此模型是在古希腊和罗马开发的。

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.

文艺复兴时期的天文学家尼古拉·哥白尼(Nicolaus Copernicus)在1543年发表了这项开创性的著作，名为《 论天球的革命 》，其中包含日心说模型。 地球和其他已知行星绕着太阳旋转，而不是太阳和其他行星绕着地球旋转(与地心模型相反)。 下面的图1显示了他的书中图表的图示。 几个世纪以来，图表设计经历了许多改进，但基本设计保持不变。

影视数据可视化的著名示例 (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.

考虑到过去70年来制作的电影和电视节目的数量，现在可以获得大量数据。 在这里，我们考虑一些如何使用数据可视化的示例。

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使用数据可视化来探索文化，科学和技术领域。 在2013年至2014年期间，Kim研究了过去一百年来电影中文化参考的影响力和交流。 金的图表通过使用网络和边缘捆绑​​图创建“文化图”来说明电影参考的复杂关系。 文化图显示了哪些引用和引用了较老的电影，作为后现代主义风格的一部分。

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是一位可视化设计师，他围绕文化数据创建了许多图表。 他的作品涵盖了多个主题，包括对《格林童话》的分析，对Twitter数据的分析和视觉书籍的选择。 2013年，杰夫为《星际大战》目前上映的全部六部电影制作了一系列视觉指纹 。 想法是每隔一秒钟创建一个缩略图，以提供影片的视觉概览。

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.

如果我们看一下《帝国反击》的图像，我们可以看到电影的前三分之一具有蓝色和白色的颜色，描绘了霍斯的战役，而较暗的中三分之一则说明了卢克在达哥巴和汉·莱亚的双重故事被帝国追赶。 最后一幕是多种颜色的混合，描绘了贝斯平云城的外部和内部。

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.

我们的第三个也是最后一个示例与一个名为“吸血鬼杀手巴菲(Buffy the Vampire Slayer)”的邪教电视节目有关。 Esteve Boix通过与展览第一季相关的数据创建了一系列可视化效果。 在一个季节级别，图表显示每个主角出现的放映时间(分钟)以及每个表演中的人与吸血鬼死亡人数。

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.

可以深入到情节视图，并从视觉上确定每个角色何时出现在情节中以及什么位置。 下面的图4显示了此输出的示例。

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.

在本节中，我们在两个方面介绍了背景知识。 可以用来显示数据源之间的关系的图表类型(以及填充历史记录)，以及如何使用数据可视化从文化数据创建视觉故事的一些示例。

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

在下一节中，我们将探讨讲故事的方法以及为到达最终图表目的地所采取的决策。

数据集和方法 (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.

可视化文化数据可能是一种有用的方法，可提供有关电影之间的链接以及角色在电影和电视节目中如何相互作用的见解。 有多种不同的方式可以说明文化实体。

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?

在我们的研究中，我们选择了一部名为《 地狱司机》的电影，这是一部历史悠久的经典英国犯罪电视剧，讲述的是一名前任卡车司机试图揭露其老板的腐败行为，并分析了其中出现的主要15位演员。 我们还查看了他们在电视节目或电影中的后续露面。 我们希望利用每个演员的电影作品来回答以下问题。 首先， 地狱车手的演员在职业生涯后期是否继续出现在更成功的电影或电视节目中(根据IMDB评分)？ 其次，如果是这样，电影/电视节目的名称是什么？ 第三，他们花了多长时间才出现在更成功的电影中？

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.

利用收集和分析的数据以及已知的研究问题，下一步就是确定最合适的图表类型。 正如我们将在下一部分中看到的那样，找到首选视觉效果的途径使我们踏上了星际之旅。

结果与讨论—图表 (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，灵感可以来自多种来源。 同事，家人或朋友说的一个字或词组可以激发思路。 最初，这项研究的想法始于“ 小橡子生长出的强大橡树”。 鉴于这部电影虽然在IMDB上享有很高的评价，而且所展现的才华不菲，但作为1950年代英国顶级电影的一部分，不容易讨论。[b]

铅笔和纸质原型 (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.)

我们的原型是地铁风格图表的即兴片段，演员“线条”将移动到描述电影或电视节目的外部“预算”。 进行了一些切向的联系，但随后从图表的更高版本中删除了(例如，韦斯利·皮特(Wesley Pithey)和罗杰·摩尔(Roger Moore)一起出现在《 圣人》中 ，后者在钻石永远出现之后从肖恩·康纳利(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.

我们的第二个版本在一定程度上保持了树木和种子的主题。 在此版本中，我们从中心花“雌蕊”开始，以提供中心定位。 我们想给出的想法是，每部更著名的电影都是《 地狱司机》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.

此时，没有时间表被编码到图表中，我们也无法使用这种类型的图表来识别每个后代电影的评级。 这些问题是我们在图表的第三次迭代中解决的。

转向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，我们希望移至图表的计算机生成版本。 我们想扩展“ 地狱驱动者”的概念，该概念位于图表的中心，并且连续不断地散布着电影。 直观地，我们想到了教室和童年天文学书籍中有关太阳系的图表。 但是，我们不知道使用Python或R编程语言的任何图表库[c]都可以生成此类图表。

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.

下面的图7显示了使用新的太阳能图案的早期迭代。 地狱驱动程序再次位于图表的中心。 我们还绘制了卫星电影作为中心周围轨道路径的年份。 此外，我们将电影/电视节目的名称添加为文本标签，并添加了IMDB分级。 最后，介绍了一种简单的黑白配色方案，以与以黑白方式拍摄的胶片对齐。

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，问题出现在太阳能设计中。 首先，我们可以在哪里编码每部卫星电影中出现的演员？ 其次，如果所有卫星都是灰色的，我们将面临可辨别性的问题。 第三，静态图表感觉太固定了。 我们想知道是否可以转向动态美学：我们的图表能否显示出从中心辐射的每个卫星电影的轨迹？

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

面对这些悬而未决的问题，我们决定放弃Illustrator中的图表设计，而转向提供动态数据可视化的框架。

使用JavaScript动态 (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是一种高级编程语言，用于设计和开发交互式网页。 考虑到我们需要转向交互式设计，使用JavaScript似乎很直观。

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’.

上面的图8显示了使用Javascript的太阳能图表的屏幕截图。 如您所见，我们保留了Illustrator制定的设计中的某些功能。 地狱司机出现在中间。 演员出现在较高级别电影中的年份被称为“日心轨道”。

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).

该图表的新功能是按颜色对卫星进行颜色编码。 我们认为使用颜色会提供一定程度的可分辨性。 此外，我们添加了一系列颜色，以区分演员在同一年出现在不同电影/电视节目中的位置。 我们还使用格式塔关联理论添加了一个图例，用于对这些信息进行编码(图例文本和符号与图表卫星的颜色相同)。

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.

动画效果(可以在Jonathan的GitHub repro上查看)显示了绕着我们中心“星星”旋转的许多彩色卫星。 我们增加了步进转速，以确保内部卫星相对于每个外部卫星的行进速度不会太快。

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，我们认为我们可以进一步改善图表的直觉。 并非每个卫星电影/电视节目都在其轨道上的预定点开始； 我们对每个卫星起点进行了更改。

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.

这个想法是在我们的中央星片的中心开始每个卫星电影/电视节目，然后沿着螺旋路径向每个目标轨道辐射每个卫星。 效果最佳。 下面的图9显示了卫星到达其对地静止轨道时的时间快照。

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，我们结束了星际可视化旅程的结尾，然后得出结论，简短讨论了我们的图表如何回答我们的研究问题。

结果与讨论—地狱司机之后发生了什么？ (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，我们曾提到创建太阳图表的主要动机是形象化地狱车手出演的演员如何在他们未来的演艺事业中扮演更成功的角色。 让我们考虑一下，每一个领导和支持演员如何在电影或电视中至少扮演一个成功的角色

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，爱尔兰女演员佩吉·康明斯 ( Peggy Cummins )已经出演了许多电影角色，其中最著名的是《 枪疯狂》 ( Gun Crazy) – 1950年的电影黑色。然而，在《 地狱司机》 (Helll Drivers)发行一年之后，佩吉出演了《恶魔之夜》 (Rated 7.5) –经典改编。 James鬼故事的故事： 符文的铸造 。

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).

赫尔伯特·洛姆(Herbert Lom )在地狱司机 ( Hell Drivers )发行时已经出现在40多部电影中，其中包括1955年备受赞誉的Ealing喜剧《杀手》 ( The Lady Killers )。1960年，他在斯坦利·库布里克(Stanley Kubrick)的《剑与剑》史诗《斯巴达克斯(Spartacus)》(7.9)中担任配角。

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.

同样在1960年， 帕特里克·麦高汉 ( Patrick McGoohan)和乔治·默塞尔 ( George Murcell)出现在名为“ 危险人 ( Danger Man ) ” (7.9)的间谍主题电视中。 帕特里克(Patrick)扮演北约特工约翰·德雷克(John Drake)的主角，他在与颠覆大国作斗争，挑战世界和平。 同时，乔治在一集节目中只扮演了很小的角色。 危险人部分地导致了帕特里克在1960年代后期的邪教电视节目“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，这是托尼·汉考克(Tony Hancock)在汉考克( Hancock)的Half Hour(半小时)中的同伴。 演出结束后，席德(Sid)于1960年出现在他的电视喜剧节目《 公民詹姆斯 ( Citizen James)》 (7.2 [d])中。席德(Sid)继续出现在整个1960年代和1970年代初期的许多电影中，主要是在《 随身携带》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·哈特内尔(William Hartnell)出演了60 多次电影和电视节目。 最著名的是他1963年在《神秘博士》 (8.3)中担任主角的时候。 威廉作为一名时空穿越时空的英雄出现在该节目中三年了，解决了难题并在时空上击败了敌人。

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·杰克逊 ( Gordon Jackson)生于格拉斯哥，曾在1957年出演地狱车手之前担任过许多配角。到1962年，戈登(Gordon)与马龙·白兰度(Marlon Brando)一起出演了《赏金叛变》 (7.3)。 然而，他将最令人难忘的是他1963年作为战俘情报官的角色。 与全明星阵容一起，他在第二次世界大战中最重要的一次监狱休息中，以潜在的逃脱者身份出现在《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； 大卫·麦卡勒姆 ( David McCallum) (也出生于格拉斯哥)在第五任角色中出现在《 地狱司机》中 。 David只需很少的时间就可以取得更大的成功。 他在1958年的《泰坦尼克号悲剧：要记住的一夜》(7.9)中担任助理无线电操作员，扮演着很小的角色。 到1962年，大卫在海军戏剧《 比利·巴德 ( Billy Budd)》 (7.8)中扮演了另一个辅助角色。 像他的格拉斯哥人一样，戴维与戈登·杰克逊一起出现在《大逃亡》 (8.3版)中，担任负责散布隧道材料的军官。 最后，戴维(David)和戈登(Gordons)角色都加入了同一个逃生小组。 这是巧合！

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.

另一个苏格兰人肖恩·康纳利 ( Sean Connery )不需要介绍，因为他在1960年代和1970年代初期出任詹姆斯·邦德(James Bond)。 在《 地狱司机》之前，他曾在少数电视节目中扮演辅助角色。 确实，肖恩(Sean)只是作为次要角色而代表地狱司机之一。

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.

快进到1959年，肖恩(Sean)通过在电影《 达比·奥吉尔和小人物》 (7.2)中扮演主角(《爱情趣味》)来表现自己的早期成就。 1962年，肖恩(Sean)出现在《最长的一天》 ( The Longest Day) (7.8)中； 关于法国登陆日登陆的电影。 应当指出，他作为私人的角色相对较小。 这也使我们从1962年开始担任英国特工詹姆斯·邦德(Dr. No. 7.2)的职务。在那之后，他又作了5次间谍活动，随后又成为主流。

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·贝克 ( Stanley Baker )表演了十四年，而他的角色主要是支持主角，他扮演了各种角色。 地狱车手看到斯坦利(Stanley)出演了他的第一任主角。 他的前任汤姆·亚特利(Tom Yateley)的角色希望变得很好，因此受到了充分的重视，随后担任了许多主角。

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，他在法律的两方面都发挥了领导作用。 地狱是一座城市 (7.1)和混凝土丛林 (6.9)。 一年后的1961年，他出演了第二次世界大战的大片《纳瓦隆大炮》 (7.8)。 可以说，两年后，当斯坦利扮演约翰·查德中尉时，斯坦利的事业达到了顶峰。他是一小队英国士兵的领袖，他们在影片《祖鲁人》(7.7)中在罗尔克的漂流中与祖鲁人作战。

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.

威尔弗里德·劳森(Wilfrid Lawson)出生于1900年，在1930年代和1940年代曾担任许多主角。 到1957年，他已成为演员的职业生涯。 然而，在1964年，他最后一次获得了伟大的胜利。 与理查德伯顿(Richard Burton)和彼得奥图尔(Peter O'Toole)一起出现在中世纪历史传记电影贝克特(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.

吉尔·爱尔兰(Jill Ireland)于1955年开始演艺事业，她的第八部影片是《 地狱司机》 。 吉尔(Jill)继续出现在故事​​片中，直到1960年代初，她出演了电视角色多年。 1964年，她出现在国际间谍节目《 UNCLE的男人》 (7.7)中，并在三年中扮演三个独立角色。

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.

吉尔(Jill)在《 地狱司机》 ( Hell Drivers)中遇到了她未来的丈夫戴维·麦卡勒姆(David McCallum) ，她随后继续扮演《 UNCLE》 ( The UNCLE )中《男人》 (Ilya Kuryakin )的主角之一。更有趣的是，她在《 地狱司机》中遇见了第二任丈夫查尔斯·布朗森(Charles Bronson)。由布朗森和麦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.

阿尔菲·巴斯(Alfie Bass)在他的职业生涯中出现在屏幕上的一百多个功能中。 地狱车手是他的第六十四次出场。 尽管他最杰出的出场可能是在他身后，但他还是在甲壳虫乐队的第二部长片《 救命！》中出演了主角(尽管是次要角色) 。 (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.

温斯利·皮特 ( Wensley Pithey)于1912年出生于南非，其表演生涯长达60年。 当他出现在《地狱车手》中时，已经占他演艺事业的三分之一，随着他在1963年的督察员克劳德·蒂尔(Claude Teal)取得类似的成就，他将出现在《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).

最终， 玛乔莉·罗兹 ( Marjorie Rhodes )出演地狱司机 ( Hell Drivers)时已经是一名屏幕老手。 玛乔莉(Marjorie)在整个职业生涯中扮演过许多母亲角色。 要实现比地狱车手更大的成功，马约里所需要的时间最长。 九年后的1966年，马乔里(Marjorie)在“家庭之路 ( The Family Way)” (7.3)中饰演Hywel Bennet的角色之母。

Conclusion

结论

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/练习等的目的是研究哪种图表类型最适合说明相对于中央电影而言一系列演员的职业轨迹。 我们发现，太阳图可以用来绘制与第一部电影相对应的卫星电影的“太阳向心轨道”。

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，我们还发现JavaScript实现最适合显示这些关系。 这种清晰性是由于能够以动态方式显示这些关系。 我们建议添加动态运动可以改善静态图表上的视觉故事。

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的从业人员可以使用我们的太阳图和方法来绘制“ 围绕一颗中心星的卫星关系 ”。 这些关系轨道描绘了不同电影在演员职业生涯中所扮演的重要角色，以及演员如何从这位中央明星的力量中受益，从而降落在他们的下一个重要部分。 每个卫星的运动都模仿每个演员的旅程。 每个旋转场都表明演员通过地狱司机的力量降落在新电影的路径上。

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.

我们观察到，《 地狱司机 》在1950年代英国电影的评估中只是作为脚注(或在某些调查中根本没有)。 通过我们的研究和DataViz的输出，我们希望通过说明这部电影的真正遗产来重新解决这种不平衡：一部电影如何启动和发展许多演员的职业生涯。

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.

在未来的工作中，我们将继续研究其他技术，以将电影宇宙形象化为由其主要演员和工作人员链接在一起的恒星和行星网络。 因此，有助于更好地识别“中央明星”电影，是否有任何演员继续出现在更成功的电影中，以及他们花了多长时间才到达那里。

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.

我们还将考虑未来的美学改进，例如：举例说明与中心恒星的“卫星关系”，然后绘制将两个节点链接在一起的连接，形式可以是网络链接，也可以是鬼拖网。 当我们深入研究以显示多个“中心星”并且可能发现多个“卫星关系”时，此增强功能可能会很有用。 继续看星星。

Notes

笔记

[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]在英国和美国之间重命名电影是一种常见的做法(出于营销目的。在这种情况下，我们使用英国名称“恶魔之夜”而不是美国名称“恶魔诅咒”

[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] 地狱驱动器没有出现在调查的一部分(一般为1000名成员)于1999年的BFI调查英国公众对他们喜爱的英国电影的委托，另外， 地狱驱动程序不会出现TOP100名单上电影是《 Time Out》杂志2011年进行的一项调查(150名电影专家)的一部分。

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

[c]我们评估了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]在分析期间(从1月19日至4月20日)，公民詹姆斯评级保持在7.2不变。 但是，在6月20日检查时，该节目的评分已降至7.0

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

[e] 地狱车手和祖鲁人都由斯坦利·贝克(Stanley Baker)担任主角，塞恩·菲尔德(Cy Enfield)担任导演。