Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) by Keith Hennessey Brown

“…I then examine the approaches to montage editing taken by Sergio Leone and Sam Peckinpah, in The Good, The Bad and The Ugly (1966) and The Wild Bunch (1969). While both filmmakers use highly visible editing techniques there are also significant differences, particularly regarding the build-up to an action sequence and the sequence itself, their preferred shots and combinations of shots, and their use of music.…”
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Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) by Keith Hennessey Brown

“…I then examine the approaches to montage editing taken by Sergio Leone and Sam Peckinpah, in The Good, The Bad and The Ugly (1966) and The Wild Bunch (1969). While both filmmakers use highly visible editing techniques there are also significant differences, particularly regarding the build-up to an action sequence and the sequence itself, their preferred shots and combinations of shots, and their use of music.…”
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Siðfræði og fagmennska í heimi fáránleikans: Um siðrof og útlaga í kvikmynd Sams Peckinpahs The Wild Bunch by Þórólfur Þórlíndsson

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“Before Man Was, War Waited for Him”. Blood Meridian e la Guerra del Vietnam by Giulio Segato

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香港贼王的消失与再现：从犯罪电影 《树大招风》与《追龙II：贼王》看香港身份认同 = The disappearance and re-presentation of Hong Kong's king of thieves: an analysis of Hong Konger's identity in crime films “Trivisa” and “Chasing the Dragon II: Wild Wild Bunch” by 黎惠欣 Loi, Sonia Hwee Sin

“…“Trivisa” (2016) and “Chasing the Dragon II: Wild Wild Bunch” (2019) are Hong Kong crime films produced in the same period, and they also have similar themes. …”
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Resurrection men / by Rankin, Ian, author 532064

“…It will hopefully teach them the merits of teamwork, while allowing professionals the chance to assess this unholy 'wild bunch'. But there are those in the team who have their own secrets – secrets not unconnected to the very case they've been given – and they'll stop at nothing to protect them. …”

Regarding Wounded Bodies on the Killing Fields of the Cinema, by James M. Welsh

“…We are interested in later standards that became less stringent in permitting screen representations of sex and violence after such groundbreaking pictures as Arthur Penn’s Bonnie & Clyde and Sam Peckinpah’s The Wild Bunch, particularly the popular and critical success of Francis Coppola’s The Godfather during the 1970s and its sequel, The Godfather, Part II —both of them brutal films when judged against earlier gangster pictures which, before 1968, could not have been so explicit and graphic. …”
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