人熊森林
地区:美国
  类型:古装
  时间:2025-07-17 04:48:27
剧情简介

1. 古董机折翼 The Flying Bug拥有一架古董飞机是马丁的儿时心愿,人熊后来他终于如愿买了一架史提曼飞机但这架飞机在一次飞行中坠机,人熊除了机身骨架。其他全部撞烂。保险公司要把飞机报废,但是这架珍贵的史提曼飞机,是许多人珍爱的飞机,于是马丁花费巨资,决定请两位专家修好它。热气球是飞行的一种方法,制作单位请两位玩热气球的英国好手,比一比谁控制热气球乘风飞行的技术比较高明马丁也在节目中一偿宿愿,驾驶第二次世界大战的名机:喷火战斗机。2. 热情所系 Plane Passion拥有十年飞行资历的麦克,想要为拥有属于自己的飞机,于是英国顶尖飞机商大卫为他介绍旗下的机种。买飞机必须考虑预算,用途,飞机航程,和是否要与别人合购。最后决定购买能够长程飞行,带他和亲友去欧洲度假的西斯纳182型飞机。小熊飞机从1938年开始制造,做为美国空军的训练机。在二次大战和韩战,它们也曾担任观测机。由于观测机飞入敌军阵营,很容易被地面部队击落,因此驾驶小熊飞机的人都是勇敢的飞行员。3. 超强战力 Flight and Might让飞机发展最快速的原动力就是战争,换句话说,战争时期的军机研发,革新了今日我们飞行的方式。索普威思的三片机翼,在缠斗中具有无比的升力和操纵性,曾在一次大战中击落86架敌机,自己则只折损3架。德国一次大战名人曼弗雷德冯李希特霍芬,便是驾驶他的福克三翼机,一个人就击落80多架敌机,纪录无人能比,也凸显出当年三翼机优越的性能。马丁的双翼机已修好机身,修理机翼时才发现,装在上翼的油箱在翻覆时和地面摩擦,差点爆炸。P51的野马型是二次大战传奇战斗机,共击落二千多架敌机,飞行时震耳欲聋的声音,令人胆战心惊。4. 民航时代 Age of the Airliner希腊海运大亨的28岁儿子史戴洛斯,在90年代中期开创了低价航空业,让搭飞机旅行成为普罗大众都能参与的活动。19岁的马丁哈斯提德,当初以想创立航空公司做为向女生搭讪的台词,后来竟然成功创业。马丁为他的双翼机机身覆上蒙布,并且熨斗让蒙布绷紧,让飞机修复工作更进一步。马丁这次非常幸运地能够驾驶巨大的达科他型飞机,这种身兼军用机和民航机的巨型飞机,能表现所有小双翼机的动作,只是比较慢而已。波音747的机长穆迪,曾经驾驶载运近三百名乘客的飞机,遇到四具引擎全部故障的情况,747客机顿时变成巨无霸滑翔机,惊险至极。5. 空中勇士 Magnificent Flyers喷射背包是终极的科幻梦想,1961年,这场幻梦成真,因为贝尔火箭腰带首度升空。特技员艾瑞克史考特是现今世上少有的火箭腰带飞行员之一,他说操作喷射背包就像脚踩大球,同时手握喷着水的消防水管,难度极高。机翼特技员是一份惊人的极限工作,他们在高空中站在机翼上,表演各种花式动作,而一位有惧高症的仁兄,竟然想亲自体验机翼特技员的工作,以克服惧高症。马丁的双翼机,机翼部分已重制完毕,但是竟然发生装不上去的窘境,幸好几经硬推猛敲,总算安装成功,接着以转印纸印上干净俐落的号码图案,预示这架双翼机接受最后检验的时刻即将来临6. 未来天空 Into the Future英国足球明星莱斯费迪南德,不仅是汽车飙速好手,同时也会驾驶直升机,他认为直升机给他的自由快感,令其他交通工具望尘莫及。直升机所费不赀,但想体验飞行的人还可以选择动力滑翔伞,只要背着超大电扇,搭配滑翔伞,不需要考执照,一个人就能体验飞行快感。曼彻斯特的史帝夫正在研究火箭,希望未来能让一般人进行太空旅行,体验无重力的滋味并且观赏地球曲度。马丁的双翼机通过了民航民工程师的检验,在历经两年半的整修,终于再次飞上青天。

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姚鸣

发表于6分钟前

回复 :#我心里危险的东西# 第二季制作决定


陈雪君

发表于3分钟前

回复 :门派废徒叶辰,被赶出宗门,无以为家,机缘巧合之下偶得真火,再踏仙武之路。这是一个神魔仙佛并立的世界,这是一个诸天万域混乱的年代,叶辰的逆天征途,由此开始,历经磨难和轮回,最终问鼎大道巅峰。


嘉琳

发表于6分钟前

回复 :"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.


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