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Sam" Peckinpah also known as David Samuel was born on 21 February 1925 and died on 28 December 1984. He was a renowned American filmmaker and screenwriter who has directed a list of films such as: The Deadly Companions 1961, Ride the High Country 1962, Major Dundee 1965, Noon Wine 1966, The Wild Bunch 1967, The Wild Bunch 1969, The Ballad of Cable Hogue 1970, Straw Dogs 1971, Junior Bonner Junior Bonner 1971, The Getaway 1972, Later career 1973, Pat Garrett and Billy the Kid 1973, Bring Me the Head of Alfredo Garcia 1974, The Killer Elite 1975, Cross of Iron 1977, Convoy 1978 and Osterman Weekend 1983.

Hayes, Kevin. Sam Peckinpah: Interviews, Conversations with Filmmakers Series. University Press of Mississippi, 2008

The book explains Peckinpah's commitment to the pain and horror of violence and how these upheavals compelled him into action. By drawing primarily into scripts, unpublished correspondence, editing notes and production memos, Stephen offers unprecedented portrait of Peckinpah as a filmmaker. Hayes explains that despite his success, his personality was marked by years of alcohol and drug abuse. Alcohol and drugs did therefore overshadow his professional legacy. Hayes takes an organic approach to reveal a highly unified body of work that have since remained a pointed commentary on power, violence, affection, and moral values.

Prince, Stephen. Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies. University of Texas Press, 1998

The book starts by notifying the reader that more than any other filmmaker, Peckinpah opened a new chapter for graphic violence in the film industry. Stephen explains in the book the rise of explicit violence in American film. He also explains the films' social effect and the relation of the current violence in films to humanistic filmmaking of Peckinpah. In the book, Stephen demonstrates the complex approach to screen violence. He portrays Packinpah as a serious artist who focused on the social and political upheavals. He looks into Peckinpah's critical shaping of their content and violent imagery. Thus the book indicates Peckinpah's intelligence in film making and a keen observer of American social system and function.

Miller, Frederic, Agnes, Vandome., and John, McBrewster. Sam Peckinpah. VDM Publishing House Ltd, 2010

Frederic et al introduces Peckinpah by giving the reader his day of birth and death. They explain that as an American filmmaker and screen writer, he has achieved prominence by releasing a range of Western Epic films from the Deadly Companions of 1961 to Osterman Weekend of 1983. The bibliography explains that Sam was known for his innovative and explicit depiction violence and revisionist approach to the Western genre. They explain that his films generally dealt with conflicts that arise between values and ideals. The films explore corruption of violence in human society. It indicates that Peckipah was given the nickname Bloody Sam because of the violence depicted in the films. The research on Sam indicates that the characters he used were either loners or losers who desired honor, but instead, they are forced to compromise in order to survive a world of brutality and nihilism.

Bouzereau, Laurent. Ultraviolent Movies: From Sam Peckinpah to Quentin Tarantino. Citadel Press, 2000

Laurent focuses on the violence in the movies directed by Sam. He explains that since the inclusion of violence in The Wild Bunch, Taxi Driver, Since Bonnie and Clyde and A Clock-work Orange, the theme of violence has become an accepted part of the ongoing movie experience. He explains that the current movie films seem tame. For example the release of recent release of Scream I and II and L.A. the theme of ultra-violence now continues to rule the market with additional new fans in every release. The writer explains that ultraviolent films explore critical outcry that has met these movie industry. Laurent offers a deeper insight into the visions of such directors as Sam himself, Martin Scorsese and Quentin Tarantino. The book therefore result is an intriguing study of film buffs and historians.

Dukore, Bernard F. Sam Peckinpah's Feature Films. University of Illinois Press, 1999

The book explains that Sam is one of the greatest film directors in American history. He is a revolutionary figure in the movie industry. Dukore examines Peckinpah's fourteen feature films as rational body of works. The book is based on a research done by Dukore who did an extensive and detailed examination of Peckinpah's distinctive editing techniques. It gives a shot by shot analysis of what illuminated Sam's mastery of mood and pacing. It is explained to readers that the Feature Films demonstrated the editor's and director's mark. Particular films demonstrating this includes, Straw Dogs, The Wild Bunch and other classics.

Murray, Gabrielle. Great Directors in Issue 20: Sam Peckinpah Interviews Edited by Kevin J. Hayes. 2008. 22 April. 2011.

This article starts by explaining Peckinpah's personal relationships and why it seemed sour time after time. It looks at the critics of Hayes and the collections he made on Peckinpah. Hayes explains that despite his success, his personality was marked by years of alcohol and drug abuse. Alcohol and drugs did therefore overshadow his professional legacy. Hayes takes an organic approach to reveal a highly unified body of work that have since remained a pointed commentary on power, violence, affection, and moral values. The article analyses all the books written on Sam by giving a positive outlook on the director.

Carroll, Jean. Last of the Desperadoes: Dueling with Sam Peckinpah. Rocky Mountain Magazine, March 1982.  22 April. 2011

This is a one on one interview of Peckinpah and Jean Carroll. He lists his experiences during the interview and explains his reasons for success. He gives a shot by shot analysis of what illuminated Sam's mastery of mood and pacing. The interview enables us to understand that Sam was known for his innovative and explicit depiction violence and revisionist approach to the Western genre. It explains that his films generally dealt with conflicts that arise between values and ideals. Through the interview we are able to that Sam was known for his innovative and explicit depiction violence and revisionist approach to the Western genre.

Gabrielle, Murray. Great Directors in Issue 20: Sam Peckinpah. 1999. 23 April. 2011

This article explains in detail an obituary that was posted on the New York Times after Peckinpah's death in 1984. It gives his qualities in the film industry and the major films that made him famous as a director. The article explains that Peckinpah's personal mythology has been inscribed in much of the writing generated the films he produced. His success has been highlighted despite terming him as a drunkard and a drug addict whose productions were sometimes controversial. It finally gives a filmography of his works from the deadly companion in 1961 to Osterman Weekend 1983

The International Movie Databases. Biography for Sam Peckinpah. 1990. 24 April. 2011.

The article looks at the reason why Peckinpah was named Bloody Sam and begins from the movies he directed since 1962. The article explains Sam's education from when he was a child until he did his B.A in drama. It details his married life and reasons why he had to divorce. It details his second marriage and the ups and downs in his life as a director. It lists a number of films he directed and others that used his name as a director. Despite having died early than he expected, the article informs the reader that Sam had a number of projects to complete including Stephen King.

Bozzola, Lucia. Biography. 2011. 23 April. 2011.

The bibliography looks at the turmoil of activities that inspired Peckinpah to his creativity. It explains his impact in the film industry in the 1960. It gives a detail of his date and place of birth including his rise to stardom. It includes his education background, life in the military school and marines in 1943. His life in the media is also highlighted with a detail of reasons why he got fired. The bibliography explains that Sam was known for his innovative and explicit depiction violence and revisionist approach to the Western genre.

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