二战全史/战争中的世界 [REMUX无损版] The World at War 1973 S01 1080p BluRaycd REMUX DTS-HD MA 5.1 x264-TvT 208.69GB

A groundbreaking 26-part documentary series narrated by the actor Laurence Olivier about the deadliest conflict in history, World War II.
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◎译　　名　二战全史/战争中的世界
$ L/ C5 B! ?' V4 l◎片　　名　The World At War
/ N9 M+ c% t- Y◎年　　代　1973
◎国　　家　英国
) S5 S& ]' o+ g# D  r+ r: V1 F( p◎类　　别　纪录片/历史/战争
7 T2 k- [7 B" z2 s◎语　　言　英语/德语/法语/日语
; J8 Q! N% r7 F0 O, ~◎上映日期　1973
9 o6 D2 v3 D3 k- P8 g  s: L( F◎IMDb评分  9.2/10 from 27,218 users
◎IMDb链接  https://www.imdb.com/title/tt0071075/
◎豆瓣评分　9.3/10 from 2,312 users
0 W6 n5 ]: k- e( o1 R◎豆瓣链接　https://movie.douban.com/subject/1807504/
◎文件格式　x264 + DTS
: I6 L* d3 W* p+ K1 t& n" |◎视频尺寸　1920 x 1080
◎文件大小　1DVD 208.69 GiB
. w! U) o/ g) m" H- ]◎集　　数　26
◎片　　长　52分钟
" Z& y& B) k: n% L/ s" t◎导　　演　Ted Childs
　　　　　  Hugh Raggett
' q  V9 N0 {8 B3 d- z% J　　　　　  Michael Darlow
4 x4 Y7 q7 l' V) S◎编　　剧　BBC
◎主　　演　劳伦斯·奥利弗 Laurence Olivier
8 A5 ^: D: Z( Z( P( P　　　　　  Mark W. Clark
& A9 ~8 i* K7 G/ l* Q9 t& S0 J　　　　　  Otto Ernst Remer
: y5 K: j/ w' |0 M　　　　　  卡尔·邓尼茨 Karl Dönitz
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◎简　　介   

　　该纪录片通过德国、意大利、日本三个轴心国分别在欧洲、亚洲、中东所挑起的战争，表现了在第二次世界大战中，世界反法西斯联盟在海、陆、空的各个战场上英勇抗击法西斯侵略者宏大场面。通过该片使我们充分了解到如：斯大林格勒、诺曼底登陆及攻克柏林等重大战役珍贵史实资料。
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; W. Q  q( n8 _) ^　　A multi-volumed documentary mini-series, "The World at War" covers the entire history of World War II from the causes of the 1920s to the aftermath of the Cold War in the 1950s. Emphasis is also placed on several inside story episodes, where events are covered which occurred inside Germany and Japan such as resistance to Hitler, life in general under a dictatorial regime, and particular emphasis is focused on the Jewish Holocaust.
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' N2 c4 q; m# R+ y) o" c　　重温《The World At War》

　　1、制作
) D/ \- R" n/ _4 t2 y! `# |1 V0 h　　2、一个新的德国，1933-1939
　　3、奇怪的战争，1939年9月-1940年5月
4 s# F4 e9 D( @+ b　　4、法国沦陷，1940年5月-6月
" U  V) y. a4 N  a0 |& q　　5、单独作战，1940年5月-1941年5月
　　6、巴巴罗萨，1941年6月-12月
　　7、万岁！日本，1931-1942
- G- Q/ n# K8 w0 m8 q* x9 [+ w　　8、走我的路，美国，1939-1942
　　9、北非沙漠，1940-1943
　　10、斯大林格勒，1942年6月-1943年1月
　　11、狼群战术
　　12、苏联红星，1941-1943
/ b/ k% ?  O% }6 a' P! q2 R7 T: L* b　　13、旋风轰炸德国，1939年9月
　　14、回顾往事
　　15、一个可爱的日子，昨天：缅甸
9 S. P; {7 N/ H+ q　　16、家园遭焚：英国 1940-1941
　　17、帝国内：德国，1940-1944
　　18、六月黎明：1944年8月
　　19、占领荷兰，1940-1944
　　20、钳形攻势，1944年8月-1945年3月
　　21、大屠杀 1941-1945
　　22、报应，德国，1945年1月-5月
3 m5 ^% [4 t" [+ ?　　23、日本，1941-1945
  A' N( [! h# X4 ]　　24、太平洋，1942年2月-1945年7月
9 c& M4 `4 D5 W# I5 v　　25、核弹，1945年1月-9月
　　26、清算
　　27、回忆
& t3 l1 f3 s1 G4 |　　特辑一：希特勒的秘书
　　特辑二：谁赢的了二战
, H$ J$ T* H! c3 C) i; O　　特辑三：希特勒之死
0 v- [- G( Q' E# g9 V0 D　　特辑四：勇士们
　　特辑五之一：奥斯威辛集中营（上）
9 S4 Y7 w! B/ V4 S, a, l　　特辑五之一：奥斯威辛集中营（下）
　　特辑五之二：奥斯威辛集中营（上）
　　特辑五之二：奥斯威辛集中营（下）
' \" e% |3 g! z1 }$ @　　特辑六之一：人民公社（上）
　　特辑六之一：人民公社（下）
4 h+ }; v9 n) G5 X5 Y- s3 a　　特辑六之二：人民公社（上）
　　特辑六之二：人民公社（下）

$ w. ?6 d5 V$ X- |/ J4 M　　这是我能找到的《The World At War》最详细的分集名字了，有些是我自己起的名字 :cool!: 这部1974年英国一家电视制作公司制作完成的宏伟巨作应该是反映第二次世界大战最权威的纪录片。看看他们做了多少工作就知道这部片子的分量，出现在他们影片中的有事件发生的当事人，有高级军官，有政治家，有普通百姓、还有普通士兵。整部大约26小时的影片中没有一个重复镜头，全部镜头均取材于当时的战时宣传影片或照片。该片的解说为著名英国演员劳伦斯奥里佛爵士，相信听过他诠释哈姆雷特“生存还是死亡”的人对他的声音应该有印象。此外该片的资助人是大英博物馆，每集的拍摄都组成了单独的制作小组，有各自独立的编剧、导演，然后经过专门聘请的历史学家审评，再加以精心制作。我相信，在反映二战的纪录片中，不但过去没有，今后恐怕也没有能超越这部片子的了。
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　　第一次看到这样翻译纪录片的，十分新鲜。不过令我念念不忘的还是影片带给我的震撼，当看到身临其境者一个个出现在屏幕上现身说法时，还有比这更有说服力的吗？比如第7辑《万岁！日本》中描述珍珠港事件，被采访的有日军计划制定者、特遣舰队的海军军官、驻珍珠港的日本间谍、空袭珍珠港的日军飞行员、当时在场的美国陆军军官、美国海军军官和水兵，甚至还有当时珍珠港的平民。短短20分钟的叙述让你永远难忘。
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The.World.at.War.1973.S01.1080p.BluRayCD.REMUX.DTS-HD.MA.5.1.x264-TvT 208.69 GB

* S# |6 ?) s" u( vName: The.World.At.War.1973
Format : mkv
Overall bit rate : 21 Mbps
Bit rate mode : Variable
$ D* ?% \( a( _6 L% ^$ SFormat : Advanced Video COdec
1 `* M, b/ L. B, `+ }Width : 1 920 pixels
Height : 1 080 pixels
Display aspect ratio : 16:9
Frame rate : 23.976 fps
Resolution : 16 bits
7 m' L! N( B& L" }  @& wFormat : DTS-HD
% R9 D4 U# z) [, Y7 CAudio Type: AC3 (Stereo, 48000Hz)

The World at War Blu-ray, Video Quality   


If you are one of the people who are inconsolable about Fremantle's decision to reframe this release in 16:9, you should probably stop reading now, as nothing I can say will change your mind about the worthiness of this release. As I mention in some detail above, I feel your pain, I really do. I have always argued for original aspect ratios on home video releases, especially when a lot of early days panning and scanning was so clumsily handled. But for those of you who are keeping an open mind, let's move on. The World at War is simply a marvel, a benchstone, of restoration, delivered via an AVC codec in 1080p and, yes. 1.78:1. Let's get the framing issues out of the way first. Would it have been better to have had this series in 1.33:1? Probably. But business being what it is, and Fremantle's need to recoup their very substantial restoration costs by relicensing this series for broadcast made the 16:9 decision inevitable. What is striking about this reframing is how carefully it was done, at least for the most part. As the restoration featurette shows quite clearly, this was not an automated situation where the original 1.33:1 image was simply blown up to become 1.78:1. Actual people, not machines, supervised this process, often frame by frame, making sure the salient information was kept in the image. For about 95% of the time, this effort is largely commendable. Unfortunately, the contemporary interview segments do look rather silly, with up to one quarter of any given individual's forehead and/or chin lopped off the image. In perhaps a less important issue, the opening Thames TV logo now cuts the top of the spire off of St. Paul's Cathedral. But otherwise, the framing has been handled spectacularly smartly.
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Now on to the image itself. This restoration is quite simply a revelation, especially for those of us who grew up with the series or have owned it in its previous home video incarnations. Again, this is state of the art restoration, using in fact a new software that is not even commercially available yet. The World at War was its maiden voyage, so to speak, and the results are simply stunning. The increase in sharpness and detail is often breathtaking, and the painstaking removal of millions of scratches, blemishes and surface dirt reveals a whole new wealth of fine detail. Has DNR been applied? Yes, but not in the way it typically is. Grain structure is still largely intact, especially in the smaller millimeter formats. And in fact where too much restoration would have harmed the integrity of the image, as in some of the color film of Hitler at Berchtesgaden, next to nothing has been done.
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This was obviously a labor of love for Fremantle and the associated high-tech wizards who helped with the restoration and hi-def transfer. Fremantle went back to its archives, often to 35mm negatives, to source from the best available elements used for this transfer, and it shows in virtually every frame. The older black and white footage now bristles with brilliant contrast and excellently inky black levels, and the color footage has been timed by telecine experts who have often worked wonders, especially with the older Technicolor segments. All of this said, there are noticeable differences in various source elements. The 35mm footage looks substantially better than the 16mm, as is to be expected, and even some of the 35mm (as well as the 16mm) sports some wear and tear that even digital restoration can't overcome.

' B5 ?4 Q$ D9 e% z8 O7 l6 ~2 y* Q# cPeople coming to this release without having seen The World at War in either its standard def broadcast version or any of the previous home video releases may wonder what all the brouhaha, both pro and con, is about. We're dealing with an incredible amount of archival footage here, and even a painstaking digital restoration can only go so far in bringing the image quality up to current day standards. But for those who have seen this series in previous iterations, if you can get past the reframing issue, you are most likely going to be amazed at the upgrade in image quality here.

' ?6 s7 Q* p) t. l. TThe World at War Blu-ray, Audio Quality   


* |5 y2 n( x# ^$ eThe results aren't quite so mind (or ear) boggling as the video quality, but the DTS-HD Master Audio 5.1 repurposed track sounds surprisingly spry for its age, even if the surround channels aren't exactly constantly in motion. The immersive qualities of this multi-channel re-do are obviously most impressive in the battle footage, where the roar of plane engines clearly pans from side to side and bombs explode from front to rear. Dialogue and music remain pretty resolutely anchored in the front channels. Olivier's voice sounds just slightly chorused in the 5.1 mix, and some may prefer the lossless LPCM 2.0 mix for that reason. Davis' haunting score sounds magnificent, and the LFE of the new lossless tracks is very robust. Archival source material still sounds crackly, poppy and scratchy, with compressed frequencies and an overall boxy sound, but that somehow only seems to make it more "real" in a historical perspective. The main interview segments and Olivier's voiceover are clear as a bell and very well mixed into the overall soundfield.
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每天都来蓝光论坛看看，我爱蓝光电影。
要想蓝光电影论坛发展好，资源多，就靠你我他！To the development of Blu-ray movies forum, resources and more depend on you and me!

That was awesome!

感谢楼主，感谢！

啥也不说了，楼主就是给力！
要想蓝光电影论坛发展好，资源多，就靠你我他！To the development of Blu-ray movies forum, resources and more depend on you and me!
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每天都来蓝光论坛看看，我爱蓝光电影。
In fact, I have always felt that the landlord of good taste! Ha ha!