Robert Altman:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films

Books/Videos

Altman, Robert
Altman on Altman London ; New York : Faber and Faber, 2006.
MAIN: PN1993.3.A48 A3 2006
MOFF: PN1993.3.A48 A3 2005 (another edition)
Table of contents http://www.loc.gov/catdir/toc/fy0608/2006386405.html

Altman, Robert
Robert Altman : interviews / edited by David Sterritt. Jackson : University Press of Mississippi, c2000.Conversations with filmmakers series.
Main Stack PN1998.3.A48.A5 2000

Bourget, Jean Loup.
Robert Altman / Jean-Loup Bourget. Paris : Edilig, c1980. Cinegraphiques
Main Stack PN1998.A3.A574 1980

Braudy, Leo; Kolker, Robert P.
"Robert Altman." In: Film voices : interviews from Post Script / edited by Gerald Duchovnay. Albany : State University of New York Press, 2004
Main Stack PN1995.9.P7.F55 2004
PFA PN1995.9.P7.F55 2004

Breskin, David.
"Robert Altman." In: Inner views : filmmakers in conversation / David Breskin. Boston : Faber and Faber, c1992.
Moffitt PN1998.2.B74 1992

The Directors. The films of Robert Altman[video]
fter six decades in the motion picture industry, Robert Altman remains one of Hollywood's most prolific directors. Famous for using large ensemble casts, Altman practices an improvisational style of filmmaking that gives his actors the rare luxury to freely interpret their roles. Includes interviews with the director and reminiscences by actors and actresses who have worked with Altman. 60 min. 1999.
Media Center VIDEO/C 7214

Feineman, Neil.
Persistence of vision : the films of Robert Altman / Neil Feineman. New York : Arno Press, 1978. Arno Press cinema program. Arno Press cinema program. Dissertations on film series.
Main Stack PN1998.A3.A5764 1978

Gilbey, Ryan.
"Robert Altman." In: It don't worry me : the revolutionary American films of the seventies / Ryan Gilbey. 1st American ed. New York : Faber and Faber, c2003.
Main Stack PN1993.5.U65.G55 2003
Moffitt PN1993.5.U65.G55 2003
PFA PN1993.5.U6.G55 2003

Giles, Paul
"The cinema of Catholicism: John Ford and Robert Altman." In: Unspeakable images : ethnicity and the American cinema / edited by Lester D. Friedman. Urbana : University of Illinois Press, c1991.
Main Stack PN1995.9.M56.U57 1991
Moffitt PN1995.9.M56.U57 1991
Compar Ethn PN1995.9.M56.U57 1991

Giles, Paul
"Ritual and burlesque : John Ford and Robert Altman." In: American Catholic arts and fictions : culture, ideology, aesthetics / Paul Giles. Cambridge ; New York : Cambridge University Press, 1992. Cambridge studies in American literature and culture.
Main Stack PS153.C3.G55 1992

Jacobs, Diane.
"Robert Altman." In: Hollywood Renaissance / Diane Jacobs. South Brunswick : A. S. Barnes, c1977.
Main Stack PN1998.A2.J28

Kagan, Norman.
American skeptic : Robert Altman's genre-commentary films Norman Kagan. Ann Arbor, MI : Pierian Press, 1982.
Main Stack PN1998.A3.A57648 1982
Moffitt PN1998.A3.A57648 1982

Karp, Alan
The films of Robert Altman / by Alan Karp Metuchen, N.J. : Scarecrow Press, 1981
Main Stack PN1998.A3.A5765

Keyssar, Helene.
Robert Altman's America / Helene Keyssar. New York : Oxford University Press, 1991.
Main Stack PN1998.3.A48K49 1991
Moffitt PN1998.3.A48K49 1991

Kolker, Robert Phillip.
A cinema of loneliness : Penn, Kubrick, Coppola, Scorsese, Altman / Robert Phillip Kolker. 3rd ed. Oxford ; New York : Oxford University Press, 2000.
Main Stack PN1993.5.U6.K57 2000

Kolker, Robert Phillip.
A cinema of loneliness : Penn, Kubrick, Coppola, Scorsese, Altman / Robert Phillip Kolker. 2nd ed. New York : Oxford University Press, 1988.
Main Stack PN1993.5.U6.K571 1988
Moffitt PN1993.5.U6.K571 1988

Kolker, Robert Phillip.
A cinema of loneliness : Penn, Kubrick, Coppola, Scorsese, Altman / Robert Phillip Kolker New York : Oxford University Press, 1980
Main Stack PN1993.5.U6.K57
Moffitt PN1993.5.U6.K57

"Mavericks: Robert Altman, Paul Thomas Anderson, Abel Ferrara, Spike Jonze, Harmony Korine, David Lynch, John Sayles." In: American independent cinema / edited by Jim Hillier. London : British Film Institute Publishing, 2001. Sight and sound reader.
Main Stack PN1993.5.U6.A44 2001

McGilligan, Patrick.
Robert Altman : jumping off the cliff : a biography of the great American director / Patrick McGilligan. New York : St. Martin's Press, 1989.
Main Stack PN1998.3.A48.M441 1989
Moffitt PN1998.3.A48.M44 1989

O'Brien, Daniel.
Robert Altman : Hollywood survivor / Daniel O'Brien. New York : Continuum, 1995.
Main Stack PN1998.3.A48.O37 1995
Moffitt PN1998.3.A48.O37 1995

Parrill, William
"Robert Altman." In: Religion in film / edited by John R. May and Michael Bird 1st ed Knoxville : University of Tennessee Press, c1982
Main Stack PN1995.9.R4.R4 1982
Moffitt PN1995.9.R4.R4 1982

Plecki, Gerard
Robert Altman / Gerard Plecki. Boston : Twayne, 1985. Twayne's filmmakers series.
Main Stack PN1998.A3.A5769 1985
Moffitt PN1998.A3.A5769 1985

Plecki, Gerard
"The South in the films of Robert Altman." In: The South and film / Warren French, editor Jackson : University Press of Mississippi, 1981
"Southerners in Robert Altman's films, M*A*S*H, Brewster McCloud, Thieves Like Us, and Nashville, represent a cross section of American lifestyles and attitudes. The people of the South are proud, resilient, and forceful but are also prone to racial and regional biases, stubbornness, and greed. Altman finds and pictures the South as the locus of conservatism in the United States." [America: History and Life]
Main Stack PN1995.9.S66.S6
Moffitt PN1995.9.S66.S6
also in: Southern Quarterly 1981 19(3-4): 134-142.

"Robert Altman."
In: Conversations with directors : an anthology of interviews from Literature/film quarterly / edited by Elsie M. Walker, David T. Johnson. Lanham, Md. : Scarecrow Press, 2008.
Pacific Film Archive PN1998.2 .C615 2008

"Robert Altman."
In: Film voices : interviews from Post Script / edited by Gerald Duchovnay. Albany : State University of New York Press, c2004.
Main Stack PN1995.9.P7.F55 2004
PFA PN1995.9.P7.F55 2004

"Robert Altman."
In: Voices from the set : the Film heritage interviews / interviews by Tony Macklin ; edited by Tony Macklin and Nick Pici. Lanham, Md. : Scarecrow Press, 2000.
PFA PN1993.5.U6.M214 2000

Robert Altman
Presente par Michel Esteve ; avec des textes de Vincent Amiel, Serge Chauvin, Frank Curot ... [et al.]. Paris : Lettres modernes Minard, 1999. Etudes cinematographiques ; no 249-257.
Main Stack PN1993.E8 no.249-257

Self, Robert T.
Robert Altman's subliminal reality / Robert T. Self. Minneapolis : University of Minnesota Press, c2002. Commerce and mass culture series.
Main Stack PN1998.3.A48.S45 2002

Shapiro, M. J.
"Robert Altman: the West as countermemory." In: Cinematic thinking : philosophical approaches to the new cinema / edited by James Phillips. Stanford, Calif. : Stanford University Press, c2008.
Main (Gardner) Stacks PN1995 .C5352 2008

Wexman, Virginia Wright.
Robert Altman : a guide to references and resources / Virginia Wright Wexman and Gretchen Bisplinghoff. Boston, Mass. : G.K. Hall, 1984.
Main Stack PN1998.A3.A5774 1984
Moffitt PN1998.A3.A5774 1984

Wood, Robin
"Smart ass and cutie-pie: notes toward the evaluation of Altman." In: Hollywood from Vietnam to Reagan / Robin Wood. New York : Columbia University Press, 1986. p. 26-45
Main Stack PN1993.5.U6.W641 1986
Moffitt PN1993.5.U6.W64 1985

Journal Articles

Baker, C.A.
"The theme of structure in the films of Robert Altman." Journal of Popular Film and Television Vol II nr 3 (Summer 1973); p 243-261
UC users only
Discusses R.A.'s view on structure vs. freedom in life, as shown in his films 'That cold day in the park', 'MASH', 'Brewster McCloud' and 'McCabe and Mrs. Miller'.

Barra, Allen
"Screenings: Robert Altman." American Heritage; Feb/Mar2007, Vol. 58 Issue 1, p14-15, 2p, 1 color
UC users only

Beaver, Frank.
"An Interview with Robert Altman." Michigan Quarterly Review. 22 (1): 45-55. 1983 Winter.

Braudy, Leo. Kolker, Robert P.
"Robert Altman: An Interview I; II." Post Script: Essays in Film and the Humanities. 1; 1 (1; 2): 2-7; 2-14. 1981 Fall; 1982 Winter.

Breskin, David
"Robert Altman: the Rolling Stone interview." (motion picture director) (Interview) Rolling Stone April 16, 1992 n628 p72(9)

Chesley, Lloyd
"Swimming in the cool medium: before the movies, Altman made waves in television." (Robert Altman). Variety Dec 10, 2001 v385 i4 pA6(1) (843 words)

Cook, B.
"Bob and Pauline: a fickle affair." American Film Vol III nr 3 (Dec-Jan 1978); p 6-9
A look at the relationship between critic and filmmaker, in this case Robert Altman and Pauline Kael.

D'Alessandro, Anthony
"Collaborating with the master: colleagues talk of filmmaker's method, and his influence on their work." (Robert Altman). Variety Dec 10, 2001 v385 i4 pA4(2) (1784 words)

Decker, Christof
"'Irony Is a Cheap Shot': Robert Altman, Luis Bunuel, and the Maneuvers of Comic Deconstruction." Amerikastudien/American Studies, vol. 52, no. 1, pp. 63-79, 2007

Dempsey, M.
"Altman; the empty staircase and the Chinese princes." Film Comment Vol X nr 5 (Sept-Oct 1974); p 10-17
Analysis of the themes in Robert Altman's films.

Edmundson, Mark.
"Alone at the Movies: My days in the dark with Robert Altman and Woody Allen." American Scholar, Winter2008, Vol. 77 Issue 1, p63-73, 11p
UC users only

Edgerton, Gary.
"Capra and Altman: Mythmaker and Mythologist." Literature/Film Quarterly. 11 (1): 28-35. 1983.

Farber, Stephen
"Five horsemen after the Apocalypse." Film Comment Vol XXI nr 4 (July-Aug 1985); p 32-35
Discusses the work of four directors who have found it difficult to work within the studio system: Robert Altman, Alan Rudolph, Martin Scorsese and Bud Yorkin.

Grigsby, W.
"Robert Altman: a young Turk at 54." Maclean's v. 92 (April 23 1979) p. 4-5+

Hrezo, Margaret; Hrezo, William
"The Politics of the "Open" Self: America in the Cinema of King Vidor and Robert Altman." Studies in Popular Culture; Spring2010, Vol. 32 Issue 2, p67-84, 18p
UC users only

Kalogerakis, George
"A seat at Bob's table." (Robert Altman). (New York Goes to the Movies)New York, Dec 17, 2001 v34 i48 p40(3)
The critical and public reaction to Robert Altman's new film, 'Gosford Park,' indicates that the venerate director may have a large commercial hit on his hands. At Elaine's restaurant in New York, Altman reflects on his career and what his films mean to him.

Keane, Marian.
"Robert Altman's Films and Tom Hopkins' Criticism of Them." Film International , 2003, Vol. 1 Issue 6, p34-49, 16p
UC users only

Keogh, P.
"Death and Hollywood." [Robert Altman; interview]. Sight & Sound v. ns2 (June 1992) p. 12-13

Kloman, H.; Michaels, L.; Wexman, Virginia Wright
"A foolish optimist: interview with Robert Altman."Film Criticism Vol VII nr 3 (Spring 1983); p 20-28
UC users only

Krohn, B., et. al.
"Altmanville." [Obituary]. Cahiers du Cinema no. 619 (January 2007) p. 55-6

Kroll, Jack.
"Seeking the 'rotten core.'" (film director Robert Altman) (Interview) Newsweek, August 23, 1993 v122 n8 p52(1) Newsweek, August 23, 1993 v122 n8 p52(1)
"Altman talks about the prostitution scandal involving Hiedi Fleish, hypocrisy in Hollywood, CA, and trends in the film industry. He also names Jonathan Demme and Martin Scorsese as two of the men he admires the most. Altman dislikes the way Japanese businesses are running movie studios." [Expanded Academic Index]

Levin, L.
"Robert Altman's innovative sound techniques." American Cinematographer v. 61 (April 1980) p. 336-9+

Mobilio, Albert; Altman, Robert
"Robert Altman." BOMB, No. 68 (Summer, 1999), pp. 24-30
UC users only

Murphy, Kathleen; Rudolph, Alan
"A lion's gate; the cinema according to Robert Altman./ The producer as gambler." Film Comment Vol XXX nr 2 (Mar-Apr 1994); p 20-22,24,26,28
"Robert Altman's body of work is like a round-table banquet and mystery play celebrating the persistent aspirations of his characters. The cinematic nervous system these characters form is unparalleled in its complex vitality. Altman's vision is capable of documenting every human smallness, but it is not diminishing. The director's greatest gift is his genius for images that can be critically framed but resist being frozen and continue to live in the memory." [Art Index]
An appreciation of R.A. on the occasion of the Film Society of Lincoln Center's tribute to him; plus A.R.'s description of his creative relationship with the director.

Nicholls, Allan
"Robert Altman as Remembered by Allan Nicholls." Filmmaker - The Magazine of Independent Film 15:2 (Winter 2007)

Phillips, Braden.
"Comeback kid: Ever the contrarian, helmer insists he never left." (Robert Altman). (filmmaker Robert Altman)(Brief Article) Variety Dec 10, 2001 v385 i4 pA2(2) (999 words)

Phillips, Braden.
"Altman and the critics." (comments on filmmakers Robert Altman and his work)(Brief Article) Variety Dec 10, 2001 v385 i4 pA2(2) (913 words)

Quart, Leonard
"Robert Altman: Master of Images."Intellect 106:2389 (1977:Oct.) 159

Raab, Scott
"What I've learned: Robert Altman." (Interview) Esquire Feb 2004 v141 i2 p110(2) (782 words)

Rickey, Carrie
"Fassbinder and Altman: Approaches to Filmmaking." Performing Arts Journal, Vol. 2, No. 2 (Autumn, 1977), pp. 33-48
UC users only

"Robert Altman: An Interview, Part I." Post Script, Fall81, Vol. 1 Issue 1, p2-7, 6p

"Robert Altman: An Interview, Part II." Post Script, Winter82, Vol. 1 Issue 2, p2-14, 14p

Roddick, Nick
"Rushes: Driving with Robert Altman." Sight and Sound 17:1 (January 2007) p. 5
UC users only

Rosenbaum, Jonathan
"Improvisations and Interactions in Altmanville." Sight and Sound Issue: 44:2 (1975:Spring) p.90
UC users only

Rudolph, Alan.
"The producer as gambler." (Robert Altman) Film Comment March-April 1994 v30 n2 p 21(2) (1487 words)
" Robert Altman gambles on the artist vision of himself and the director every time he produces a film. Unlike most American producers, he weighs the artistic merit more than potential profits. His most recent production in 'Mrs. Parker and the Vicious Circle."

Sack, C.
"Joan Tewkesbury on screenwriting: an interview." Literature/Film Quarterly Vol VI nr 1 (Winter 1978); p 2-25
J.T. discusses her work, esp. 'McCabe and Mrs. Miller', 'Thieves like us' and 'Nashville.'

Sanjek, David.
"The Case for Robert Altman." Literature/Film Quarterly.1991. Vol. 19, Iss. 1; pg. 66, 3 pgs
UC users only

Sanjek, David.
"It Could Have Been Worse: Robert Altman's O. C. and Stiggs." Post Script: Essays in Film and the Humanities. 13 (3): 39-53. 1994 Summer.

Self, Robert.
"The Perfect Couple: 'Two Are Halves of One' in the Films of Robert Altman." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice. 5 (4): 30-37. 1983.
An analysis of Robert Altman's films with the central theme of 'human pairing', and the depiction of US life in the 1970's.

Self, R.
"The art cinema and Robert Altman." Velvet Light Trap nr 19 (1982); p 30-34

Self, R.
"Robert Altman and the theory of authorship." Cinema Journal v. 25 (Fall 1985) p. 3-11 UC users only
"Robert Altman" is the name of the author metonymic with the variety of productive forces that intersect and disperse across the set of two dozen films bearing that name. It signifies numerous modes of discourse - technological, industrial, societal, formal, psychological, academic - each of which authorizes a different "notional coherence" in the reading of these films." [Periodicals Contents Index]

Poague, Leland
"Leland Poague Replies to Robert Self's "Robert Altman and the Theory of Authorship" ("Cinema Journal," Fall 1985)Leland Poague Replies to Robert Self's "Robert Altman and the Theory of Authorship" ("Cinema Journal," Fall 1985) Cinema Journal, Vol. 25, No. 3 (Spring, 1986), pp. 76-80
UC users only

Stamelman, P.
"Conversation with Robert Altman." Print (New York, N.Y.) v. 30 (July 1976) p. 70+

Thomson, David.
"Robert Altman's decade of astonishments."The New York Times June 11, 2000 pAR13(N) pAR13(L) col 1 (60 col in)

Tibbetts, John C.
"Robert Altman: After 35 Years, Still the 'Action Painter' of American Cinema." Literature/Film Quarterly. 20 (1): 36-42. 1992.
UC users only
Robert Altman: after 35 years, still the 'action painter' of American cinema.
" Director Robert Altman, maker of 'M*A*S*H' and 'Vincent and Theo,' has been making motion pictures for 35 years. His reputation as a difficult but talented director has prevented him from being prolific, but most of his films have won critical acclaim. Altman discusses criticism of his unconventional textural use of sound, his insistence on total control of his pictures and other aspects of his career in an interview." [Expanded Academic Index]

Tolkin, Michael
"Greener Pastures." Artforum International v. 45 no. 6 (February 2007) p. 77-8
Screenwriter and novelist Michael Tolkin pays tribute to film director Robert Altman, who died recently.

Tudor, Andrew.
"No short cuts." New Humanist, Jan/Feb2006, Vol. 121 Issue 1, p32-32, 1p
UC users only

Walker, B.
"Altman '91." [interview]. Film Comment v. 27 (January/February 1991) p. 5-10
" Director Robert Altman is a visionary maverick whose career has suffered because of his inability to play by Hollywood's rules. Altman had his first major success with M*A*S*H (1970), after which he proceeded to confound industry expectations with a series of unconventional films coupling stylistic experimentation with a sympathetic view of women. After the turbulent production of Popeye (1980), Altman found himself essentially blackballed from the movie business. He left the West Coast and spent the 1980s directing theater and opera, adapting plays for the screen, and directing for television. The release of his latest film, Vincent & Theo, coincides with a renewal of interest in his work in Europe and America." [Art Index]

Warren, Charles.
"Cavell, Altman & Cassavetes." Film International (16516826), Jul2006, Vol. 4 Issue 22, p14-20, 7p
UC users only

Wexman, V.W.
"Rhetoric of cinematic improvisation." Cinema Journal v. 20 no. 1 (Fall 1980) p. 29-41

Wyatt, Justin.
"Economic Constraints/Economic Opportunities: Robert Altman as Auteur." Velvet Light Trap. 38: 51-67. 1996 Fall.
An auteurist appraisal of the work by independent US director R.A., also providing an economic survey of his career to date.

Yacowar, Maurice
"Actors as conventions in the films of Robert Altman." Cinema Journal Vol XX nr 1 (Fall 1980); p 14-28
UC users only
"Altman's use of an actor may be prompted by the director's personal response to the performer's image or nature or by his awareness of the performer's associations from other films or from real life. His purpose is continually to upset or to challenge his viewer's habitual responses." [Periodicals Contents Index]

Articles and Books on Individual films

Buffalo Bill and the Indians

Bernstein, Gene M.
"Robert Altman's "Buffalo Bill and the Indians or Sitting Bull's History Lesson": A Self-Portrait in Celluloid." Journal of Popular Culture 13:1 (1979:Summer) 17
UC users only

Billman, C.W.
"Illusions of grandeur: Altman, Kopit, and the legends of the Wild West." Literature/Film Quarterly Vol VI nr 3 (Summer 1978); p 253-261
UC users only
Considers the use of history and illusion through the Wild West Show in Arthur Kopit's play 'Indians' and the film "Buffalo Bill and the Indians".

Braucourt, Guy
"L'ouest sauvage de Buffalo Bill ou Comment on met en scène un mensonge à l'échelle nationale." Ecran; nr.50 (Sept 1976); p.46-47
Review of the film and a list of films about Buffalo Bill.

"Buffalo Bill and the Indians" (review) The Atlantic v. 238 (October 1976) p. 106-8

"Buffalo Bill and the Indians" (review) Commentary,103 (Aug. 13, 1976), pp.: 528-29

"Buffalo Bill and the Indians" (review) Commentary, 62 (Oct. 1976), pp.: 75-7

"Buffalo Bill and the Indians" (review) Film Quarterly, 45 (Winter 1976), p. 254

"Buffalo Bill and the Indians" (review) Films in Review, 27 (Oct. 1976), pp:505-6

"Buffalo Bill and the Indians." Monthly Film Bulletin; Vol.XLIII nr.512 (Sept 1976); p.208
A chronology of the film's period, biographies of the main characters, a list of films in which Buffalo Bill featured and a list of films where he is portrayed by actors.

"Buffalo Bill and the Indians" (review) The Nation, 223 (July 31, 1976), pp.: 93-4

"Buffalo Bill and the Indians" (review)New York Review of Books, 23 (July 15, 1976), pp: 29-30

"Buffalo Bill and the Indians" (review)New York Times, 23 (July 4, 1976), Sect II, p. 1

"Buffalo Bill and the Indians" (review)New York Times, 52 (July 28, 1976), p. 62

"Buffalo Bill and the Indians" (review)New Yorker, 23 (July 15, 1976), pp: 29-30

"Buffalo Bill and the Indians" (review)Sight and Sound, 30 (Fall 1976), pp: 54-60

Clark, Susan F.
"The Menace of Wild West Shows." Popular Culture Review. 4 (1): 49-60. 1993 Jan.

Combs, R.
"Playing the game, or Robert Altman and the Indians." Sight & Sound v. 48 no. 3 (Summer 1979) p. 136-40

Di Piero, W. S.
"Wish and power." In: Memory and enthusiasm : essays, 1975-1985 / by W.S. di Piero.p. 41-62 Princeton, NJ : Princeton University Press, c1989.
Main Stack PS3554.I65.M41 1988

Gallagher, Jag. "
"Buffalo Bill and the Indians & the Missouri Breaks." Film Criticism, Summer76, Vol. 1 Issue 2, p37-39, 3p
UC users only

Gow, Gordon
"Buffalo Bill and the Indians" (review) Films & Filming; Vol.XXII nr.12 (Sept 1976); p.33-34

Karp, Alan.
The Films of Robert Altman. pp: 75-82 Metuchen, N.J.: Scarecrow Press, 1981
Main Stack PN1998.A3.A5765

Keane, Marian.
"Robert Altman's Films and Tom Hopkins' Criticism of Them." Film International , 2003, Vol. 1 Issue 6, p34-49, 16p
UC users only

Lopez, Delano José
"The Heart of Lightness: Hollywood's Wild West Show Revisited." American Indian Culture & Research Journal; 2003, Vol. 27 Issue 2, p17-39, 23p

McCreadie, Marsha
"Buffalo Bill and the Indians" (review) Films in Review, 27 (Oct. 1976), pp:505-6

Miller, Cynthia J.
"Buffalo Bill and the Indians, or Sitting Bull's History Lesson/McCabe & Mrs. Miller." Kansas History; Summer2007, Vol. 30 Issue 2, p118-120, 3p
UC users only

Place, J.
"Buffalo Bill and the Indians: welcome to show business." Jump Cut nr 23 (Oct 1980); p 21-22
Discusses the film as a work of radical, popular art.

Plecki, Gerard
Robert Altman. pp: 91-8 Boston: Twayne, 1985. Twayne's filmmakers series.
Main Stack PN1998.A3.A5769 1985
Moffitt PN1998.A3.A5769 1985

Rosenbaum, Jonathan
"Buffalo Bill and the indians, or Sitting Bull's history lesson." Monthly Film Bulletin; Vol.XLIII nr.512 (Sept 1976); p.188-89

Self, Robert T.
"Author, Text, and Self in Buffalo Bill and the Indians." In: Ambiguities in Literature and Film: selected papers from the Seventh Annual Florida State University Conference on Literature and Film / edited by Hans P. Braendlin. pp: 104-116. Gainesville, FL: University Presses of Florida ; Tallahassee: Florida State University Press, c1988.
UCB Main PN56.A55 F551 1987

Shapiro, Michael J.
"Robert Altman : the West as countermemory." In: Cinematic thinking : philosophical approaches to the new cinema / edited by James Phillips. Stanford, Calif. : Stanford University Press, c2008.
Main (Gardner) Stacks PN1995 .C5352 2008

Shor, F.
"Biographical moments in the written and cinematic text." Film & History; Vol.XIV nr.3 (Sept 1984); p.61-68
Compares written biographies of Joe Hill and Buffalo Bill with their portrayal in "Joe Hill" and "Buffalo Bill and the Indians" respectively.

Simon, William G.; Spence, Louise
"Cowboy wonderland, history, and myth: 'It ain't all that different than real life'." Journal of Film and Video;Vol.XLVII nr.1-3 (Spring-Fall 1995); p.67-81
"Robert Altman raises questions on how history is created and historical figures become legends in his film 'Buffalo Bill and the Indians, or Sitting Bull's History Lesson.' The film repeatedly draws attention to its fictional character by references to the genre form and to Buffalo Bill's acts of self-promotion as a means of creating a myth at a time when the real western frontier was already regarded as history. It also questions the significance of film narrative in historiography by destroying the viewer's sense of causality." [Expanded Academic Index]

Stabiner, K.
"Reviews; Buffalo Bill and the Indians." Film Quarterly v. 30 no. 1 (Fall 1976) p. 54-6

Vitoux, F.
"Un spectacle èclatè (Buffalo Bill et les indiens." Positif nr.187 (Nov 1976); p.57-59
Stabiner, K.
"Buffalo Bill and the Indians" (review) Film Quarterly, 45 (Winter 1976), p. 254

California Split

Tonguette, Peter.
"California Split." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Rosenbaum, Jonathan
"Altman and the spirit of improvisation (California split)." In: Movies as politics / Jonathan Rosenbaum. p. 57-59 Berkeley : University of California Press, c1997.
Full text available online (UCB only)
Main Stack PN1995.9.P6.R67 1997
Moffitt PN1995.9.P6.R67 1997

Williams, Alan
"California Split."Film Quarterly Vol XXVIII nr 3 (Spring 1975); p 54-55

Fool for Love

Canby, Vincent.
"Fool for love." (movie reviews) The New York Times Dec 6, 1985 v135 p20(N) pC12(L) col 1 (19 col in)

Denby, David.
"Fool for love." (movie reviews) New York Dec 9, 1985 v18 p90(2)

Freedman, Samuel G.
"Fool for love." (movie reviews) The New York Times Dec 1, 1985 v134 s2 pH1(N) pH1(L) col 1 (48 col in)

Kael, Pauline.
"Fool for love." (movie reviews) The New Yorker Jan 27, 1986 v61 p84(4)

Mars-Jones, Adam.
"Fool for love." (movie reviews) New Statesman July 4, 1986 v112 p24(2)

O'Toole, Lawrence.
"Fool for love." (movie reviews) Maclean's Jan 13, 1986 v99 p46(1)

Kauffmann, Stanley.
"Fool for love." (movie reviews) The New Republic Dec 23, 1985 v193 p24(2) (1294 words)

Kopkind, Andrew.
"Fool for love." (movie reviews) The Nation Jan 11, 1986 v242 p25(2) (1092 words)

Gosford Park

Berkmann, Marcus.
"Gosford Park."(Arts: cinema). (movie review) Spectator Feb 2, 2002 v288 i9052 p43(1) (760 words)

Bremer, Karin Lindstrom.
"Gosford Park (Film)." Journal of Feminist Family Therapy, 2002, Vol. 14 Issue 2, p79-81, 3p;

Carson, Tom.
"McCabe and Mrs. Kael: Robert Altman's New Gosford Park sends our reviewer on a trek through the 1970s "Golden Age." But how golden was it?" (The Screen). (motion picture) Esquire Jan 2002 v137 i1 p38(4) (1940 words)

Cooper, Rand Richards
"Class Action: Altman's 'Gosford Park'." (movie review) Commonweal Feb 8, 2002 v129 i3 p14 (1358 words)
UC users only

Denby, David.
"Classville." The New Yorker Jan 14, 2002 v77 i43 p92(2) (1442 words)
UC users only

Duguid, Lindsay
"Spot of bother in the library." (movie review) TLS. Times Literary Supplement Feb 8, 2002 i5158 p20(1)

Fuller, G.
"Gosford Park: Graham Fuller on Robert Altman's latest return to form." Film Comment v. 37 no. 6 (November/December 2001) p. 10-11
UC users only
"Robert Altman's Gosford Park is a multicharacter comedy of bad manners that folds a third-act deconstruction of the country-house whodunit into a sardonic analysis of the British class war. It is an eavesdropper's paradise: The film's prowling camera peers at privileged employers and put-upon servants over the course of a weekend in November 1932. The setting is the estate of a philandering retired industrialist and his idle wife (Michael Gambon and Kristin Scott Thomas). A group of aristocrats gather for a weekend of shooting, dining, and adultery, while their valets and maids uneasily mingle with the downstairs help. Altman ridicules the Agatha Christie setup and then abandons it--in the same way that he debunked the myth of the private eye in The Long Goodbye and Hollywood in The Player." [Art Index]

Gilbert, W. Stephen.
"Class act: Robert Altman dissects British gentry in 'Gosford Park'." (motion picture production) Film Journal International Jan 2002 v105 i1 p20(2) (2113 words)

Hohenadel, Kristen.
"Altman on the loose in Merchant Ivory territory." (The New Season/Film)(Robert Altman) The New York Times Sept 9, 2001 pAR52(N) pAR52(L) col 1 (60 col in)

Holden, Stephen.
"Full of baronial splendor and spite." (Living Arts Pages) The New York Times Dec 26, 2001 pE1(N) pE1(L) col 2 (25 col in)

James, Nick
"Gosford Park." Sight & Sound Vol XII nr 1 (Jan 2002); p 14-17
Robert Altman's heritage film "Gosford Park" has an array of prestige British actors, but overall the British film industry has failed to put established and talented British actors to good use.

Macnab, Geoffrey
"Gosford Park." (movie review) Sight & Sound Vol XII nr 2 (Feb 2002); p 45-46
UC users only
"Altman's country-house costume drama is a revelation. Although it is a comedy of manners with a murder mystery thrown in, his real focus is the sexual and social conspiracy among the inhabitants of the house. Not only does he coax wonderful performances from his actors, but his freewheeling approach also brings fresh life to an old genre." [Art Index]

Rainer, Peter.
"Magical mystery: Robert Altman's 'Gosford Park' is a high-minded whodunit with heart; Michael Mann's 'Ali' hits hard but loses the man behind the myth." New York Dec 24, 2001 v34 i49 p104(3)

Rafael, George
"Gosford Park."Cineaste Vol XXVII nr 3 (Summer 2002); p 30-31
UC users only

Rudolph, E.
"Upstairs, downstairs." American Cinematographer v. 83 no. 1 (January 2002) p. 72-84
UC users only
"Cinematographer Andrew Dunn's work for Gosford Park, a film directed by Robert Altman, is discussed. Shot in the Super 35 format, this film deals with a mysterious murder that occurs during a weekend party at a country manor in 1930s Britain. The filmmakers opted to shoot with two Panaflex Platinum cameras fitted with zoom lenses operating almost all the time. The film's large ensemble scenes were staged in one take, with close-ups recorded on the fly by isolating a particular actor with one of the zoom lenses. Kodak's Vision Expression 500T 5284 stock was used throughout the whole film. The overall lighting for the film's ensemble scenes required a mixture of almost every kind of lighting gear (except fluorescents), used in just about every way imaginable." [Art Index]

Sherwood Magee, Gayle.
"Song, Genre, and Translantic Dialogue in Gosford Park." Journal of the Society for American Music, Nov2008, Vol. 2 Issue 4, p477-505, 29p
UC users only

Thompson, D.
"Gosford Park." (movie review) Sight & Sound v. ns11 no. 11 (November 2001) p. 17
UC users only
"Altman's first film shot in England has a cast of over 50 actors, including the cream of the British acting aristocracy. The ensemble work here is as good as in the best of his American films. The proceedings move with a swiftness and spontaneity unusual in a heritage film, in what is a prime exhibit in the defense of Altman as an auteur." [Art Index]

Travers, Peter.
"Gosford Park." (movie review) Rolling Stone Jan 17, 2002 i887 p56(1)

Kansas City

Blake, Richard A.
"Kansas City." (movie reviews) America v175, n6 (Sept 14, 1996):24 (2 pages).

Bourne, Robert.
"Goin' to 'Kansas City': and Robert Altman takes you there!" (new 1930s gangster film featuring portrayals of jazz greats)(Interview) Down Beat March 1996 v63 n3 p22(6) (3139 words)
UC users only
"Altman is proud of his latest film, which stars Gina Belafonte, Harry Belafonte, and host of jazz stars. Saxophonists Craig Handy and Joshua Redman portray and convincingly emulate Coleman Hawkins and Lester Young. The film revolves around a nightclub, and jazz is prominently featured." [Expanded Academic Index]

Boyd, Todd
"Kansas City."Sight & Sound Vol VI nr 12 (Dec 1996); p 49-50

Chidley, Joe.
"Kansas City." (movie reviews) Maclean's v109, n35 (August 26, 1996):54 (1 page).

Coe, Jonathan.
"Kansas City." (movie reviews) New Statesman (1996) v125, n4311 (Nov 22, 1996):39 (2 pages).

Combs, Richard
"Kansas City, Kansas City."Film Comment Vol XXXIII nr 2 (Mar-Apr 1997); p 68-71
"Altman included a number of personal narratives in 'Kansas City,' such as politician Henry Stilton, who reflects Altman's father B.C. Altman. The element of doubleness in the movie is shown in the location of Kansas City in both Kansas and Missouri and the relationships of female protagonists." [Expanded Academic Index]

Denby, David.
"Kansas City." (movie reviews) New York v29, n34 (Sept 2, 1996):44 (2 pages).

Gabbard, Krin
"Kansas City" The American Historical Review. Oct 1997. Vol. 102, Iss. 4; p. 1274 (2 pages)
UC users only

Gabbard, Krin
"Kansas City dreamin' : Robert Altman's jazz history lesson." In:
Music and cinema / edited by James Buhler, Caryl Flinn, and David Neumeyer. Hanover, NH : University Press of New England [for] Wesleyan University Press, c2000. Music/culture.
Music ML2075.M875 2000

Gabbard, Krin
"Robert Altman's jazz history lesson." In: Black magic : White Hollywood and African American culture / Krin Gabbard. New Brunswick, N.J. : Rutgers University Press, 2004
Main Stack PN1995.9.N4.G33 2004
Moffitt PN1995.9.N4.G33 2004

Holden, Stephen.
"Kansas City." (movie reviews) The New York Times August 16, 1996 v145 pB3(N) pC3(L) col 1 (22 col in)

Jousse, T.
"Kansas City." Cahiers du Cinema no. 502 (May 1996) p. 66-7

Kauffmann, Stanley.
"Kansas City." (movie reviews) New Republic v215, n11 (Sept 9, 1996):36 (2 pages).

Kroll, Jack.
"Kansas City." (movie reviews) Newsweek v128, n8 (August 19, 1996):66 (1 page).

Lane, Anthony.
"Kansas City." (movie reviews) New Yorker v72, n24 (August 19, 1996):78 (1 page).

Martin, Adrian.
"Screwy Squirrels: Robert Altman's Kansas City." Film Journal. 1 (3): (no pagination). 2002.

McCarthy, Todd.
"Kansas City." (movie reviews) Variety v363, n2 (May 13, 1996):66 (2 pages).

McGilligan, Patrick.
"Altman in Kansas City." (includes related article on Robert Altman at Calvin Company) Sight and Sound Spring 1990 v59 n2 p110(7)

Nesselson, Lisa.
"Robert Altman's Jazz'34: Remembrances of Kansas City Swing." (movie reviews) Variety v364, n8 (Sept 23, 1996):126 (1 page).

Rudolph, E.
"Jazzed up [filming Kansas City]."American Cinematographer v. 77 (September 1996) p. 34-8+

Soares, Marcos
"A Note on the Regressive Side of Modernization in Relation to Two Films by Robert Altman." Colloquy: Text Theory Critique, vol. 14, pp. (7 pages), December 2007
UC users only

Sterritt, David.
"Director builds metaphor for jazz in 'Kansas City'." (Robert Altman's new movie; includes related article) Christian Science Monitor v88, n181 (Tue, August 13, 1996):14, col 1, 32 col in.

Thompson, Rick.
"Kansas City." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct.

Travers, Peter.
"Kansas City." (movie reviews) Rolling Stone, n741 (August 22, 1996):104 (2 pages).

Watrous, Peter.
"The movies miss another opportunity; Robert Altman's 'Kansas City' uses jazz the way Hollywood has always used the music: as a servant of the plot." The New York Times August 11, 1996 v145 s2 pH26(N) pH26(L) col 1 (17 col in)

The Long Goodbye

Dawson, Jan
"Robert Altman speaking." Film Comment Vol X nr 2 (Mar-Apr 1974); p 40-41
R.A. discusses his version of Philip Marlowe in "The long goodbye".

Farber, Stephen
"L.A. journal."Film Comment Vol IX nr 5 (Sept-Oct 1973); p 2,66-67
Discusses the difficulty some films have in finding an audience in the contemporary market with particular reference to "The long goodbye" and "Kid Blue".

Ferncase, Richard K.
"Robert Altman's The Long Goodbye: Marlowe in the Me Decade." Journal of Popular Culture. 25 (2): 87-90. 1991 Fall.
UC users only

Gregory, Charles.
"The long goodbye." Film Quarterly Vol XXVI nr 4 (Summer 1973); p 46-48

Gregory, Charles
"Knight without Meaning?: Marlowe on the screen." Sight and Sound Issue: 42:3 (1973:Summer) p.155
UC users only

Gross, L.
"Film après noir." Film Comment Vol XII nr 4 (July-Aug 1976); p 44-49
Analysis of four 'film après noir' which, 'by turning the thematic materials of film noir into forms,... force the attentive viewer into a contemplation of his own expectations, demands, assumptions...' The films are "Alphaville", "Point blank", "Performance" and "The long goodbye".

Jameson, Richard T.
"Film noir: today; Son of noir." Film Comment Vol X nr 6 (Nov-Dec 1974); p 30-33
Recent trends in 'film noir', emphasizing 'Gumshoe', 'The long goodbye' and 'Chinatown'.

Kael, Pauline.
"The Long Goodbye." In: Reeling / Pauline Kael. Boston : Little, Brown, c1976.
Main (Gardner) Stacks PN1995 .K2521
Moffitt PN1995 .K252
Originally appeared as a movie review in The New Yorker: October 22, 1973

Lyons, Donald
"Flaws in the iris." Film Comment Vol XXIX nr 4 (July-Aug 1993); p 44-45,47-49,51-53
"Some 20 years since their release, Robert Altman's The Long Goodbye and Roman Polanski's Chinatown--2 films that recall the private-eye, or PI, genre that was popular from the 1930s through the early 1950s--remain the sole masterpieces of neo-noir. In making The Long Goodbye, which stars Elliott Gould, Sterling Hayden, and Nina van Pallandt, Altman chose the deconstructivist route in the belief that the only fresh way to make a PI movie was to do a movie about PI moviemaking. Polanski, on the other hand, chose a classic treatment that resulted in a picture that had the feel of what a 1937 PI movie might look like with A-picture treatment and anachronistic technology. The article discusses the films' storylines and how the directors brought them to life." [Art Index]

McElhaney, Joe
"Neo-Noir on Laser: Point Blank, Chinatown, The Long Goodbye." Bright Lights Film Journal, vol. 54, pp. (no pagination), November 2006

Oliver, B.
"'The long goodbye' and 'Chinatown': debunking the private eye tradition." Literature/Film Quarterly Vol III nr 3 (Summer 1975); p 240-248
UC users only
Describes how the values of positive action in the old private eye tradition are denied or satirized in two recent detective films.

Phillips, G
"Top Brackett." (Leigh Brackett's screenplay for Robert Altman's The 'Long Goodbye') Sight & Sound 9 (10): 64-64 OCT 1999

Sueur, Marc Le
"The Private Eye: Second "Golden Age"." Journal of Popular Film and Television Issue: 7:2 (1979) p.181
UC users only

Stewart, G.
"'The long goodbye' from 'Chinatown'." Film Quarterly Vol XXVIII nr 2 (Winter 1974-75); p 25-32
UC users only
A comparison of 'The long goodbye' and 'Chinatown' in terms of the detective genre as a whole.

Tarantino, Michael
"Movement as Metaphor: The Long Goodbye." Sight and Sound Issue: 44:2 (1975:Spring) p.98
UC users only

Van Wert, William F.
"Marlowe. The long goodbye. Phillip Marlowe: hardboiled to softboiled to poached." Jump Cut nr 3 (Sept-Oct 1974); p 10-13
The evolution of the detective in films written by or adapted from Raymond Chandler, with particular reference to "Marlowe" and "The long goodbye".

M*A*S*H

Baker, C.A.
"The theme of structure in the films of Robert Altman." Journal of Popular Film and Television Vol II nr 3 (Summer 1973); p 243-261
Discusses R.A.'s view on structure vs. freedom in life, as shown in his films "That cold day in the park", "MASH", "Brewster McCloud" and "McCabe and Mrs. Miller".

Bernardoni, James
"The Hawksian fallacy." In: The new Hollywood : what the movies did with the new freedoms of the seventies / by James Bernardoni.p. 117-42 Jefferson, N.C. : McFarland, c1991.
Main Stack PN1993.5.U6.B39 1991

Corliss, R.
"M*A*S*H." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.
Main (Gardner) Stacks PN1995 .A448 2006
Moffitt PN1995 .A448 2006
Pacific Film Archive PN1995 .A72 2006

"Musing on M*A*S*H* / An Interview with Robert Altman." New Orleans Review 2:2 (1970) 119

Self, Robert T.
"The Sounds of MASH." In: Close viewings : an anthology of new film criticism / edited by Peter Lehman. pp: 141-57 Tallahassee : Florida State University Press ; Gainesville, FL : Orders to University Presses of Florida, c1990.
Main Stack PN1995.C543 1990

Wander, P.
"The aesthetics of fascism." Journal of Communication Vol XXXIII nr 2 (Spring 1983); p 70-78
Explores the question of how art handles the implication that slaughter is attractive, necessary or somehow glorious in four films: "The deer hunter", "Patton", "MASH" and "Apocalypse now".

Weis, Elisabeth.
"MASH Notes." In: Play it again, Sam : retakes on remakes / edited by Andrew Horton and Stuart Y. McDougal ; with an afterword by Leo Braudy. pp: 310-26 Berkeley : University of California Press, c1998.
Media Center PN1995.9.R45.P58 1998
Main Stack PN1995.9.R45.P58 1998

McCabe & Mrs. Miller

Arthur, Paul.
"How the West Was Spun: McCabe & Mrs. Miller and Genre Revisionism." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 28 (3): 18-20. 2003 Summer.
UC users only
"Robert Altman's film McCabe & Mrs Miller, now available in a stunning Warner Bros. DVD, is testimony to the telling showdown between exemplary genre and exemplary revisionist director. Genre revisionism, which 30 years ago was among the hottest ideas in European and American filmmaking, mandated to contemporary directors the crucial job of exposing the aesthetic bankruptcy, social distortions, and general artificiality endemic to the Hollywood storytelling apparatus. Jean-Luc Godard was the true face of revisionism, but Altman was the American director most clearly identified with the ethos and, without doubt, the Western was the genre considered most in need of radical intervention. Today, three rather distinct judgments are unavoidable: Altman was no Jean-Luc Godard, the American offshoot of genre revisionism was largely a failure, and McCabe & Mrs Miller remains a great film. In contrast to followers of the revisionist impulse such as the Coen brothers, Altman's early takes on the Western and other formulas contain traces of genuine, productive ambivalence eluding most of today's facile genre-busting." [Art Index]

Baker, C.A.
"The theme of structure in the films of Robert Altman." Journal of Popular Film and Television Vol II nr 3 (Summer 1973); p 243-261
Discusses R.A.'s view on structure vs. freedom in life, as shown in his films 'That cold day in the park', 'MASH', 'Brewster McCloud' and 'McCabe and Mrs. Miller'.

Bernardoni, James
"Redeemers of the lost art." In: The new Hollywood : what the movies did with the new freedoms of the seventies / by James Bernardoni. p. 143-216 Jefferson, N.C. : McFarland, c1991.
Main Stack PN1993.5.U6.B39 1991

Burgess, J.
"McCabe and Mrs. Miller." Film Quarterly Vol XXV nr 2 (Winter 1971-72); p 49-53

Danks, Adrian
"Just Some Jesus Looking for a Manger: McCabe & Mrs. Miller." Senses of Cinema

Engle, G.
"McCabe and Mrs. Miller: Robert Altman's anti-western." Journal of Popular Film and Television Vol I nr 4 (Fall 1972); p 268-287
Discusses "McCabe and Mrs. Miller" with reference to the traditions of the western genre

Gustafson, J.
"The whore with the heart of gold: a second look at Klute and McCae and Mrs. Miller." Cineaste Vol XI nr 2 (1981); p 14-17
Untraditional treatment of heroines in A. Pakula's "Klute" and R. Altman's "McCabe and Mrs. Miller".

James, Caryn.
"McCabe and Mrs. Miller." (movie review) The New York Times Jan 21, 1994 v143 pC16(L) col 5 (10 col in)

Kael, Pauline.
"McCabe & Mrs. Miller." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.
Main (Gardner) Stacks PN1995 .A448 2006
Moffitt PN1995 .A448 2006
Pacific Film Archive PN1995 .A72 2006

Merrill, Robert.
"Altman's McCabe and Mrs. Miller as a Classic Western." New Orleans Review. 17 (2): 79-86. 1990 Summer.

Meyers, R.B.
"Theory number one: dissecting an interpretation."Journal of Popular Film and Television Vol II nr 3 (Summer 1973); p 300-315 Abstract: Criticizes Gary Engle's article on 'McCabe and Mrs. Miller' for its over intellectualization of the film. Engle's article appeared in 'J Popular F' I/4, 1972.

Miller, Cynthia J.
"Buffalo Bill and the Indians, or Sitting Bull's History Lesson/McCabe & Mrs. Miller." Kansas History; Summer2007, Vol. 30 Issue 2, p118-120, 3p
UC users only

Powell, Brittany R.; Kennedy, Todd
"The Day the Gay Cowboy Broke Up with McCabe & Mrs. Miller: Brokeback Mountain's Love Affair with Consumerist Conformity." Intertexts, vol. 10, no. 2, pp. 113-27, October 2007

Self, Robert T.
Robert Altman's McCabe & Mrs. Miller : reframing the American West / Robert T. Self. Lawrence : University Press of Kansas, c2007.
Main (Gardner) Stacks PN1997.M4236 S45 2007

Shapiro, Michael J.
"Robert Altman : the West as countermemory." In: Cinematic thinking : philosophical approaches to the new cinema / edited by James Phillips. Stanford, Calif. : Stanford University Press, c2008.
Main (Gardner) Stacks PN1995 .C5352 2008

Yovanovich, Ivan
"From Clementine to Mrs. Miller: in the name of progress." CineAction nr 46 (June 1998); p 40-47
A comparative analysis of "McCabe and Mrs. Miller" and "My darling Clementine", emphasizing the former, and treating the historical shift in the two westerns' thematics of civilization and progress.

Mrs. Parker and the Vicious Circle (Directed by Alan Rudolph; Robert Altman, Producer)

Carpenter, Teresa
"Back to the round table with Dorothy Parker and pals...." ('Mrs. Parker and the Round Table' film produced by Robert Altman, directed by Alan Rudolph) The New York Times August 29, 1993 v142 s2 pH11(N) ppH11(L) col 1 (40 col in)

Combs, Richard.
"Mrs Parker and the Vicious Circle." (movie reviews) TLS. Times Literary Supplement March 10, 1995 n4797 p22(1)

Denby, David.
"Mrs Parker and the Vicious Circle." (movie reviews) New York Dec 12, 1994 v27 n49 p66(2)

Francke, Lizzie
"All about Leigh." Sight & Sound Vol V nr 2 (Feb 1995); p 8-9
An analysis of Jennifer Jason Leigh's style of acting, with particular reference to "Mrs. Parker and the Vicious Circle".

Johnson, Brian D.
"Mrs Parker and the Vicious Circle." (movie reviews) Maclean's Jan 2, 1995 v108 n1 p50(2) (933 words)

Lane, Anthony.
"Mrs Parker and the Vicious Circle." (movie reviews) The New Yorker Dec 12, 1994 v70 n41 p128(3)

Lucia, Cynthia
"Mrs. Parker and the Vicious Circle." Cineaste Vol XXI nr 4 (1995); p 50-51

Maslin, Janet.
"Mrs Parker and the Vicious Circle." (movie reviews) The New York Times Nov 23, 1994 v144 pB3(N) pC9(L) col 3 (25 col in)

Porter, Ed
"Mrs. Parker and the Vicious Circle."Modern Review Vol I nr 19 (Feb-Mar 1995); p 18

Rudolph, Alan.
"The producer as gambler." (Robert Altman) Film Comment March-April 1994 v30 n2 p 21(2) (1487 words)
" Robert Altman gambles on the artist vision of himself and the director every time he produces a film. Unlike most American producers, he weighs the artistic merit more than potential profits. His most recent production in 'Mrs. Parker and the Vicious Circle."

Schickel, Richard.
"Mrs. Parker and the Vicious Circle." Time Dec 12, 1994 v144 n24 p90(1) (273 words)

Strick, Philip
"Mrs Parker and the Vicious Circle." (movie reviews) Sight & Sound Vol V nr 3 (Mar 1995); p 43-44

Steyn, Mark.
"Mrs Parker and the Vicious Circle." (movie reviews) Spectator March 18, 1995 v274 n8697 p41(2)

Ward, Geoffrey C.
"Small-screen lives." (historical films) American Heritage, Dec 1995 v46 n8 p16(2)
Three motion pictures available on video cast a negative light on their historical subjects. These motion pictures are 'Mrs. Parker and the Vicious Circle,''Jefferson in Paris,' and 'Cobb,' which chronicle the lives of Dorothy Parker, Thomas Jefferson and Ty Cobb, respectively.

Nashville

Abrahams, S.
"Nashville: buying Nashville." Jump Cut nr 9 (Oct-Dec 1975); p 7-8

Baker, Charles A.
"Illusion and Reality in Nashville." Studies in the Humanities. 10 (2): 93-98. 1983 Dec.

Byrne, C.; Lopez, W.O.
"Nashville." Film Quarterly Vol XXIX nr 2 (Winter 1975-76); p 13-25
UC users only
Interviews with various creators connected with 'Nashville': Robert Altman, director; Joan Tewkesbury, writer; and Richard Baskin, musical director. All discuss their approach to the subject of the film.

Cardullo, Bert
"The space in the distance: A study of Altman's 'Nashville'." Literature/Film Quarterly Vol IV nr 4 (Fall 1976); p 313-324
Analyses Robert Altman's intentions and visual style (esp. his use of space) in "Nashville".

Cole, Michael. Keyssar, Helen.
"The Concept of Literacy in Print and Film." In: Literacy, language, and learning : the nature and consequences of pp: 50-72 reading and writing / edited by David R. Olson, Nancy Torrance, and Angela Hildyard. Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1985.
Educ/Psych LC149.L4995 1985
Main Stack LC149.L4995 1985

Durham, Chris Louis.
"We Must Be Doing Something Right To Last Two Hundred Years": Nashville, Or America's Bicentennial As Viewed By Robert Altman." Wide Screen, 2010, Vol. 1 Issue 2, P1-16, 16p
UC users only

Farber, S.
"Altman in music city." Artforum v. 14 (November 1975) p. 66-70

Feuer, Jane
"Nashville, Altman's open surface." Jump Cut nr 10-11 (Summer 1976); p 31-32

French, Philip
"The Long Goodbye." Sight and Sound Issue: 43:1 (1973/1974:Winter) p.51
UC users only

"From the heartland." Time v. 105 (June 16 1975) p. 67-8

Hasbany, Richard
""Saturday Night Fever and Nashville": Exploring the Comic Mythos." Journal of Popular Culture Issue: 12:3 (1978:Winter) p.557
UC users only

Hoberman, J.
"Nashville contra Jaws, or 'The Imagination of Disaster' Revisited." In: The last great American picture show : new Hollywood cinema in the 1970s / edited by Thomas Elsaesse Amsterdam : Amsterdam University Press, c2004.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U65 L38 2004
Pacific Film Archive PN1993.5.U65 L37 2004

James, Caryn.
"Nashville." (review) The New York Times Nov 8, 1992 v142 s2 pH13(N) pH13(L) col 5 (13 col in)

Kael, P.
"Coming: Nashville." The New Yorker v. 51 (March 3 1975) p. 79-83

Klein, M.
"Nashville: Nashville and the American dream." Jump Cut nr 9 (Oct-Dec 1975); p 6-7

Lauter, Paul .
"'Versions of Nashville, Visions of American Studies': presidential address to the American Studies Association, October 27, 1994." (Transcript)American Quarterly, June 1995 v47 n2 p185(19)
UC users only
"American studies has evolved from its exclusively historical focus to an effort at interpreting and reconstructing history and current phenomena into a coherent view of the American culture. An example of the shift in focus in American studies is the Agrarian movement originating in Nashville, TN, that advocated a return to pre-industrial society as a reaction to the supposed emptiness of modern industrial culture. Nashville also becomes a subject of studies on student activists in the 1960s who worked towards equal educational opportunities for blacks, a movement that became the subject of a film by Robert Altman." [Expanded Academic Index]

Lelchuk, A.
"Mashville." The Atlantic Monthly (1971) v. 238 (October 1976) p. 102+

LoBrutto, V.
"Multiplot, multicharacter narrative: Nashville." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, c2005.
Main (Gardner) Stacks PN1994 .L595 2005
Moffitt PN1994 .L595 2005
Pacific Film Archive PN1994 .L595 2005

Marcus, Greil
"Happy endings." In: The dustbin of history / Greil Marcus.p. 88-96 Cambridge, Mass. : Harvard University Press, 1995.
Main Stack E169.04.M365 1995
Moffitt E169.04.M365 1995

McCorwick, R.
"In defense of Nashville." Cineaste Vol VII nr 1 (Fall 1975); p 22-5, 51

Michener, C., et. al.,
"Altman's opryland epic." Newsweek v. 85 (June 30 1975) p. 46-50

Plecki, Gerard
"The South in the films of Robert Altman." In: The South and film / Warren French, editor Jackson : University Press of Mississippi, 1981
Main Stack PN1995.9.S66.S6
Moffitt PN1995.9.S66.S6

Quart, Leonard
"Altman's Metaphoric America." Film & History, Sep1977, Vol. 7 Issue 3, p59-63, 5p
UC users only

Rollin, Roger B.
"Robert Altman's "Nashville": Popular Film and the American Character." South Atlantic Bulletin Vol. 42, No. 4 (Nov., 1977), pp. 41-50 UC users only

Rosenbaum, Jonathan
"Improvisations and interactions in Altmanville." Sight & Sound v. 44 no. 2 (Spring 1975) p. 90-5

Rosenbaum, Jonathan
"London journal." Film Comment Vol XI nr 5 (Sept-Oct 1975); p 4-70
Comments on 'Nashville' and an interview with Geraldine Chaplin.

Rush, Jeffrey S.
"Who's in on the joke: parody as hybridized narrative discourse." (Film Parody) Quarterly Review of Film and Video, May 1990 v12 n1-2 p5(8)
"Robert Altman's movie 'Nashville' and Wim Wenders' movie 'The American Friend' illustrate the differences between hybrid and simple parody. Hybridized parody goes beyond simple parody in that the very discourse itself is also a subject of parody. 'Nashville' is an example of simple parody, whereas 'The American Friend' is an example of hybrid parody." [Expanded Academic Index]

Sarris, Andrew
"Film: A Critics' Duet on "Nashville": From the "Village Voice" Archives: Remembering hitRobert hitAltman Through Critics Past." The Village Voice 51:48 (29 November 2006-5 December 2006) p. 70, 72
UC users only

Self, Robert T.
"Invention and death: The commodities of media in Robert Altman's 'Nashville'." Journal of Popular Film and Television Vol V nr 3-4 (1976); p 273-288
UC users only
A look at 'Nashville' and some of its more ominous social implications.

Self, Robert T.
"Resisting Reality: Acting by Design in Robert Altman's Nashville." In: More than a method : trends and traditions in contemporary film performance / edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo. Detroit : Wayne State University Press, c2004.
Main Stack PN1995.9.A26.M67 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000534.html

Stuart, Jan
The Nashville chronicles : the making of Robert Altman's masterpiece / Jan Stuart. New York : Simon & Schuster, c2000.
Main Stack PN1997.N332.S78 2000

Yates, J.
"Smart man's burden: 'Nashville', 'A face in the crowd' and popular culture." Journal of Popular Film and Television Vol V nr 1 (1976); p 19-28
UC users only
A look at two films, made 20 years apart, which deal with US political/moral consciousness.

The Player

Alleva, Richard.
"Robert Altman Is Back -- The Player directed by Robert Altman." Commonweal. Jun 5, 1992. Vol. 119, Iss. 11; p. 19 (2 pages)
UC users only

Andersen, Kurt.
"A player once again." (movie director Robert Altman) Time April 20, 1992 v139 n16 p78(3) (2166 words)
"Altman's new movie, 'The Player,' may spark a comeback for the 67-year-old director, who has had a career marked by success and failure. 'The Player' is a dark comedy about the movie business, and it has been well-received at private screenings." [Expanded Academic Index]

Ansen, David.
"The player." (review) Newsweek April 13, 1992 v119 n15 p68(1)

Ansen, David.
"'The Player.'" (director Robert Altman's new film) (Hollywood Is Talking)(motion picture industry) D Newsweek, March 2, 1992 v119 n9 p61(2)
"The hottest movie making the rounds in Hollywood is a satire on the motion picture industry itself, 'The Player.' The film is the work of Robert Altman, who has been ignored by the industry for years because of his reputation for being difficult and because his films were deemed too uncommercial." [Expanded Academic Index]

Blake, Richard A.
"The player." (review) America May 30, 1992 v166 n19 p490(2)

Canby, Vincent.
"The player." (review) (Living Arts Pages) The New York Times April 10, 1992 v141 pB1(N) pC16(L) col 1 (20 col in)

Corliss, Richard.
"The player." (review) Time April 13, 1992 v139 n15 p70(1) (594 words)

Danziger, Marie.
"Basic Instinct: Grappling for Post-Modern Mind Control." Literature/Film Quarterly. 22 (1): 7-10. 1994.
The post-modern distrust of the narrator has resulted in a series of films depicting unreliable and/or dangerous writers engaged in a struggle with their readers; focuses on "The player" and "Basic instinct."

Gaggi, Silvio
"The moving subject." In: From text to hypertext : decentering the subject in fiction, film, the visual arts, and electronic media / Silvio Gaggi.p. 67-97 Philadelphia : University of Pennsylvania Press, c1997. Penn studies in contemporary American fiction.
Main Stack NX160.G35 1997

Jameson, Richard T.; Smith, Gavin
"Robert Altman on The player." Film Comment Vol XXVIII nr 2 (May-June 1992); p 20-30
UC users only
R.A. discusses the production of "The player" in the context of his earlier work, the adaptation from Michael Tolkin's novel, and the portrayal of Hollywood in the film.

Johnson, Brian D.
"The player." (review) Maclean's April 27, 1992 v105 n17 p67(2) (1159 words)

Kauffmann, Stanley.
"The player." (review) The New Republic May 11, 1992 v206 n19 p30(2) (1259 words)

Kasindorf, Jeanie
"Home movie." (interview with film director Robert Altman) (Interview) New York March 16, 1992 v25 n11 p50(6)
Film director Robert Altman is making a Hollywood comeback with his film 'The Player.' Altman, a master of black comedy, has included cameos of 65 celebrities who appear as themselves in his film about corruption and murder in the film industry." [Expanded Academic Index]

Keogh, Peter
"Death and Hollywood." (Robert Altman; interview) Sight & Sound v. ns2 (June 1992) p. 12-13

Klawans, Stuart.
"The player." (review) The Nation April 27, 1992 v254 n16 p568(3) (1093 words)

Maslin, Janet
"Cannes loves Altman's mockery of filmdom." (Robert Altman's new film 'The Player') (Living Arts Pages ) . The New York Times May 11, 1992 v141 pB1(N) pC9(L) col 3 (25 col in)

Picardie, Ruth
"Trashville."Modern Review Vol I nr 4 (Summer 1992); p 29

Quart, Leonard; Quart, Alissa; Richolson, J.
"The player. An interview with Robert Altman." Cineaste Vol XIX nr 2-3 (1992); p 60-62
Director R.A. discusses themes in his film "The player" concerning commercialism and Hollywood.

Rafferty, Terrence.
"The Player." (movie reviews) The New Yorker April 20, 1992 v68 n9 p81(2)

Raymond, Robert.
"The Player." (movie reviews) Films in Review May-June 1992 v43 n5-6 p179(2)

Richolson, Janice.
"The Player: An Interview with Robert Altman." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 19 (2-3): 61. 1992.

Sawhill, Ray
"The player." (review) Film Quarterly Vol XLVI nr 2 (Winter 1992-93); p 47-50

Schuyler, Michael T.
"'Traffic Was a Bitch': Gender, Race and Spectatorship in Robert Altman's The Player." Journal of Narrative Theory, vol. 35, no. 2, pp. 218-47, Summer 2005
UC users only

Sheehan, H.
"The player." (review)Sight & Sound Vol II nr 3 (July 1992); p 52-53

Simon, John.
"The player." (review) National Review May 11, 1992 v44 n9 p53(2) (1181 words)

Smith, G., et. al.
"Robert Altman on The player." [interview]. Film Comment v. 28 (May/June 1992) p. 20-30
"Director Robert Altman's The Player is a tantalizing thriller and a titillating satire of present-day Hollywood. According to the many feature stories appearing in the media in the month before the film's release, 63 of the background players in The Player are movie stars or those who are involved with them. Their presence is an inestimable contribution both to the movie's through-the-looking-glass quality and to the potential salability of the film to a general audience that usually does not pay much attention to Altman's films. In The Player, Altman brings equanimity, even affability, to the task of skewering the town that has often scorned him. In an interview, Altman discusses the technical aspects of producing The Player, his thoughts on Hollywood and Western culture, and his past work." [Art Index]

Sugg, Richard P..
"The Role of the Writer in The Player: Novel and Film." Literature/Film Quarterly. 22 (1): 11-15. 1994.
UC users only
"The movie version of the 'The Player' portrays a different role for the writer than that portrayed in the novel. The story concerns a movie executive's conflict with screenwriters he rejects, his killing one of them and remaining threatened by another. Robert Altman's movie portrays the writer as an active agent who is surpassed by the power of the moviemaker. The novel portrayed writers as passive victims who could surpass the moviemaker in the long run." [Expanded Academic Index]

Weinraub, Bernard.
"Hollywood is captivated by movie on its awfulness." (Robert Altman's 'The Player') (Living Arts Pages) The New York Times Feb 18, 1992 v141 pB1(N) pC13(L) col 1 (31 col in)

Weinraub, Bernard.
"The player." (review) The New York Times April 5, 1992 v141 s2 pH17(N) pH17(L) col 1 (33 col in)

Weinraub, Bernard.
"'The Player': what's so funny?" (analysis of inside jokes in Robert Altman's movie about Hollywood) The New York Times April 19, 1992 v141 s2 pH11(N) col 1 (10 col in)

Wilmington, Michael; Keogh, Peter
"Laughing and killing./ Death and Hollywood." Sight & Sound Vol II nr 2 (June 1992); p 10-15
On Robert Altman's depiction of Hollywood in "The player" plus an interview with the director.

Prairie Home Companion

Combs, R.
"Robert Altman: Death and the maidens." Sight & Sound v. ns17 no. 2 (February 2007) p. 14-17
UC users only
"Death permeates Robert Altman's last film, A Prairie Home Companion (2006). It is part of the fabric of the film, as is seen in its beautiful execution of all the on-stage numbers against a deep background of darkness. If death were not such a strong part of the film then it could not have included the potentially ridiculous conceit of having the Angel of Death herself lurking backstage in the performances. Death is also conceived of as a kind of inevitable and unavoidable altered state, which reflects Altman's preoccupation with the possibility of escape to lands that might have been." [Art Index]

Jones, Kent
"It Don't Worry Me." Film Comment v. 42 no. 3 (May/June 2006) p. 30-2, 34
UC users only
"In directing A Prairie Home Companion, Robert Altman embraces the serene grace of an old master. In this film, the troubling question of contemporary relevance, which has always been Altman's cross to bear, is not apparent. Prairie Home has the feel of a "last film," made in a relaxed manner and calmly self-possessed. The 81-year-old Altman has been delivered from his fraught relationship with significance, relinquishing his firebrand iconoclasm. At his most relevant, Altman has always been at his most questionable--an old master whose strengths and weaknesses have often been misunderstood, if not mistaken for one another." [Art Index]

Kemp, P. A
"Prairie Home Companion." Sight & Sound v. ns17 no. 3 (March 2007) p. 70-1
UC users only
"A review of A Prairie Home Companion (2006), directed by Robert Altman and starring Meryl Streep and Woody Harrelson. This, Altman's last film, revolves around the fiction that the wreckers are moving in before the last edition of Garrison Keillor's long-running weekly live radio variety show, A Prairie Home Companion. It is one of Altman's trademark all-star ensemble pieces, full of his equally trademark overlapping dialogue, his camera drifting amiably in apparently improvised style from group to group. It is generally a gentle, sweet-natured film that shows Altman not too far off his top form." [Art Index]

Pret-a-Porter

Ansen, David.
"Ready to Wear." (movie reviews) Newsweek Jan 9, 1995 v125 n2 p58(1) (298 words)

Hilferty, R.
"Ready to wear."Film Quarterly Vol XLVIII nr 4 (Summer 1995); p 35-38
UC users only
"Robert Altman's Ready to Wear is an odd essay film with its own peculiar pattern and design. Far from being "unfocused," "flimsy," or "vapid" (recent critical put-downs), every element in the film has rhyme and reason. Ready to Wear is a mythic narrative in the guise of satiric spoof, telling the stories of some three dozen fashion world characters and their overlapping situations as they gather for Paris's most important fashion week. Less interested in high fashion than in why humans, who are born naked, cover their bodies in the first place, Altman provides the audience with a menu of the uses of fashion--in concealing, revealing, or fabricating identity. As such, Ready to Wear is an elaborate striptease of the human condition." [Art Index]

Isherwood, Charles.
"House of style." The Advocate (The national gay & lesbian newsmagazine) Dec 27, 1994 n671 p50(2)

Jacobs, Laura
"Haute couture: the director's cut." Modern Review Vol I nr 18 (Dec-Jan 1994-95); p 3-4

Klawans, Stuart.
"Ready to Wear." (movie reviews) The Nation Jan 23, 1995 v260 n3 p106(2) (375 words)

Lane, Anthony.
"Ready to Wear." (movie reviews) The New Yorker Dec 26, 1994 v70 n43 p144(2)

Martin, Richard .
"Paris 75001." (Robert Altman's film 'Ready to Wear') Artforum International Feb 1995 v33 n6 p15(2) (947 words)
" Robert Altman's film presents a flawed portrayal of the Paris fashion industry. Altman placed too much emphasis on the personalities of models and designers and their effect on popular culture. The movie revolves around the lives of several fictional designers whose characters were based on real designers. The film has been criticized for its insistence on viewing the fashion world as having an influential role in society, a view that has been outmoded since the late 1950s." [Expanded Academic Index]

Maslin, Janet
"Ready to Wear." (movie reviews) The New York Times Dec 23, 1994 v144 pB1(N) pC1(L) col 1 (20 col in)

"Ready to wear." Artforum International v. 33 (February 1995) p. 15-16
"A review of Robert Altman's film Ready to Wear. The writer contends that Altman's view of the fashion world, and of the world in general, is so sleazy and sordid that it embarrasses and depresses the viewer. He suggests that in supposedly exposing the sham of fashion, the film does not show enough of fashion's "system" to be its effective critic or censor." [Art Index]

Sheehan, Henry.
"Pret-a-Porter." (movie reviews) Sight and Sound March 1995 v5 n3 p47(2)
"Robert Altman's Pret-a-Porter (Ready to Wear) attempts a satiric look at the fashion world. Despite the director piling his trademark contempt onto television fashion reporter Kitty Potter, his entire approach merely mimics the shooting style of fashion shows on MTV and CNN. Altman does make half-hearted attempts to comment on the whole idea of fashion or fads, but they do not amount to much." [Art Index]

Spindler, Amy.
"Altman embraces fashion; does fashion embrace him?" (Robert Altman's new film 'Ready to Wear') The New York Times Dec 18, 1994 v144 s2 pH10(N) pH10(L) col 1 (37 col in)

Werrett, June.
"Making the Old New Again: Robert Altman's Pret-a-Porter." Film Journal. 1 (7): (no pagination). 2003.

Wollen, Peter; Medhurst, Andy; Sheehan, H.
"Strike a pose./ Inside the British wardrobe./ Pret-a-porter (Ready to wear)." Sight & Sound Vol V nr 3 (Mar 1995); p 10-17,47-48
Taking the release of Robert Altman's "Ready to wear" as a starting point, the article looks at clothes fashion as part of film history, both in Hollywood and in independent films; plus notes on definitive items of clothing in British films.

Secret Honor

Aufderheide, Patricia.
"Secret Honor: Interviews with Donald Freed and Robert Altman." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 14 (2): 13-14. 1985.
Donald Freed, co-scriptwriter of "Secret honor", on the role of drama in illuminating political history. Robert Altman on his motivation for making the film and transforming a play into a movie.

Canby, Vincent.
"Secret honor." (movie reviews) The New York Times June 7, 1985 v134 p22(N) pC8(L) col 1 (24 col in); June 30, 1985 v134 s2 pH15(N) pH15(L) col 1 (36 col in)

Coleman. John.
"Secret honor." (movie reviews) New Statesman Feb 8, 1985 v109 p36(2)

Kael, Pauline.
"Secret honor." (movie reviews) The New Yorker July 15, 1985 v61 p70(2)

Kauffmann, Stanley.
"Secret honor." (movie reviews) The New Republic July 15, 1985 v193 p32(2) (719 words)

"Richard Nixon: A Soliloquy." Harper's 269:1611 (1984:Aug.)

Sutpen, Tom
"The Nixon of Our Dreams? On Robert Altman's Secret Honor." Bright Lights Film Journal, vol. 50, pp. (no pagination), November 2005

Ward, Geoffrey C.
"Secret honor." (movie reviews) American Heritage April 1987 v38 p18(1)

Short Cuts

Altman, Robert Short cuts : the screenplay / Robert Altman & Frank Barhydt; based on the stories of Raymond Carver ; portraits by Don Bachardy. Santa Barbara : Capra Press, 1993.
Bancroft pPN1997.S477.A48 1993 Non-circulating; may be used only in The Bancroft Library. NRLF #: W 122 356 (Restricted Circ)

Ansen, David.
"Short Cuts." (review) Newsweek Oct 11, 1993 v122 n15 p60(1)

Azcona, M. Mar
"Making Sense of a Multi-Protagonist Film: Audience Response Research and Robert Altman's Short Cuts (1993)." Miscelánea: A Journal of English and American Studies, vol. 32, pp. 11-22, 2005

Boddy, Kasia.
"Short Cuts and Long Shots: Raymond Carver's Stories and Robert Altman's Film." Journal of American Studies. 34 (1): 1-22. 2000 Apr.
UC users only
The translation of Raymond Carver's story 'Short Cuts' into a film is discussed. Director Robert Altman's ambivalent feelings about Carver are assessed.

Canby, Vincent.
"Short Cuts." (review) The New York Times Oct 1, 1993 v143 pB1(N) pC1(L) col 3 (21 col in)

Castlereagh, Robert Stewart.
"Reimagining Raymond Carver on film: a talk with Robert Altman and Tess Gallagher." (Interview) The New York Times Book Review Sept 12, 1993 p3 col 1 (65 col in)
Altman has recently completed 'Short Cuts,' based on nine short stories and a poem by the late Ray Carver. Carver's widow Tess Gallagher believes Altman translated Carver's work very truthfully while injecting enough energy for the movies.

Coles, Robert.
"Compassion from Carver, male swagger from Altman." (Raymond Carver's world view is much different than director Robert Altman's as seen in 'Short Cuts,' Altman's film of Carver's short stories) The New York Times Oct 17, 1993 v143 s2 pH1(N) ppH1(L) col 3 (38 col in)

Demory, Pamela.
"'It's about Seeing...': Representations of the Female Body in Robert Altman's Short Cuts and Raymond Carver's Stories." Pacific Coast Philology. 34 (1): 96-105. 1999.
UC users only

Gallagher, Tess.
"Not Translation, but Translatability: Carver to Altman/Story to Film." (Responding to Harold Schweizer's 'Phenomenology of Reading'). Q/W/E/R/T/Y: Arts, Litteratures & Civilisations du Monde Anglophone. 9: 177-80. 1999 Oct.

Geng, Veronica.
"Between the devil and the deep blue sea." (Robert Altman's 'Short Cuts') The New York Review of Books Nov 18, 1993 v40 n19 p66(3)
"Robert Altman's film 'Short Cuts' is based on Raymond Carver's writings. Without resorting to melodrama, Altman effectively captured the abstractions in little acts and objects in much the same way as Carver did. Altman and scriptwriter Frank Barhydt were also able to expand on Carver's meanings without resorting to ironies or comments." [Expanded Academic Index]

Gentry, R.
"Negotiating new cinematic avenues via Short cuts." American Cinematographer v. 74 (November 1993) p. 32-6+

Grant, E.
"Short Cuts." Films in Review v. 44 (November/December 1993) p. 410-1

Henry, B.; Smith, Gavin; Macklin, F.A.
"Back roads to Short cuts./ Faultlines of a daydream nation./ Look at this." Film Comment Vol XXIX nr 5 (Sept-Oct 1993); p 34-40,42
UC users only
Production report and discussion of improvisation in Altman's film "Short cuts" by writer-performer Buck Henry; an appreciation of the film; and notes on the difficulty of locating certain films by Robert Altman on video.

Horton, R.
"Short Cuts." Film Comment v. 29 (November/December 1993) p. 70

"In the time of earthquakes." Sight & Sound v. ns4 (March 1994) p. 8-10
"The writer comments on the career of film director Robert Altman. He focuses on Altman's film Short Cuts, an adaptation of nine stories by Raymond Carver. Like the film, he asserts, Altman's diverse career lacks an immediately apparent clear thread. The writer also notes that the technique used in Short Cuts, the clash of micro-narratives sparking ironic parallels and negations off each other, has formed the basis of what is probably the most celebrated strand of Altman's work." [Art Index]

Johnson, Brian D.
"Short Cuts." (movie reviews) Maclean's Oct 11, 1993 v106 n41 p79(2) (900 words)

Jousse, Thierry
"Short cuts." Cahiers du Cinéma no. 475 (January 1994) p. 62-3
"The writer discusses the film Short Cuts (1993), directed by Robert Altman. Altman's direction in Short Cuts allows us to follow the simultaneous events in the daily life of 20 or so residents of Los Angeles. To make matters more complex, the whole is put together through the adaptation of nine short stories and a poem by Raymond Carver. For those who have read Carver's work, Altman's film becomes even more astonishing as it involves the paths of the diverse characters of all nine stories crossing." [Art Index]

Kauffmann, Stanley
"Short Cuts." (movie reviews) The New Republic Oct 25, 1993 v209 n17 p30(2) (1366 words)

Klawans, Stuart.
"Short Cuts." (movie reviews) The Nation Nov 8, 1993 v257 n15 p541(4) (2488 words)

Macnab, Geoffrey
"Luck, trust & ketchup: Robert Altman in Carver country." Sight & Sound Vol IV nr 7 (July 1994); p 49
UC users only
"Luck, Trust & Ketchup: Robert Altman in Carver Country, directed by Mike Kaplan and John Dorr, is a record of the making of Altman's film Short Cuts. It is comprised of interviews with Altman, all the main actors in his cast, various technicians on the project, and Tess Gallagher--the widow and literary executor of Raymond Carver. It is a determinedly modest little picture the very simplicity of which ends up complementing the subject matter perfectly." [Art Index]

Macnab, Geoffrey
"Short Cuts." (movie reviews) Sight and Sound March 1994 v4 n3 p49(2)
"Robert Altman's Short Cuts is mainly based in a small, suburban enclave of Los Angeles and deals exclusively with the experiences of the white middle classes. The film works wonderfully as a tapestry, but only at the price of skimming over the tragic events it depicts and sometimes patronizing its characters. Even with its comic touches, its biting irony, and delight in observation, there is no disguising that Short Cuts is the anatomy of a dysfunctional, frightened society, worried sick that doomsday is impending." [Art Index]

Quart, Leonard
"Short cuts." (review)Cineaste Vol XX nr 3 (1994); p 48-49
UC users only
"A review of Short Cuts, directed by Robert Altman. The film, which is based on short stories by Raymond Carver, is a collage of the messy and mundane lives of ordinary people in suburban Los Angeles. The film features 22 characters ranging from upper middle to working class; none are greatly successful, and some live in total squalor. There are nine narratives, some of which are totally disconnected, whereas some overlap and interweave. Although the outside world intrudes briefly, the stories focus on the characters' private actions and interactions. In general, Altman's world is one where relationships fail, violence lurks just beneath the surface, and television acts as a chorus and commentary for the daily lives of the characters. Altman has created a series of cynical variations and riffs on Carver's quietly depressed and more empathic stories; the film's total effect, a vision of rootless and volatile existences, is more striking than its sometimes heavy-handed individual parts." [Art Index]

Rafferty, Terrence.
"Short cuts." (review) The New Yorker Sept 27, 1993 v69 n31 p98(3)

Romney, Jonathan.
"Short Cuts." (movie reviews) New Statesman & Society March 11, 1994 v7 n293 p 33(2) (1181 words)

Romney, Jonathan.
"In the Time of Earthquakes." Sight & Sound Vol IV nr 3 (Mar 1994); p 8-11,49-50
"Robert Altman's film 'Short Cuts' uses an operational password 'lemonade,' to form the film's theme and structural principle. The intermingling of the films's characters during an urban catastrophe unites them in an erratic sequence of events. The film focuses on the uncertainties of life, in part illustrated by Jack Lemmon's search for his missing son only to discover his grandson in a hospital casualty ward. Altman portrays the chance meetings of these people in a comic albeit sensitive manner." [Expanded Academic Index]

Romney, Jonathan.
"In the Time of Earthquakes." In: Film/literature/heritage / edited by Ginette Vincendeau. pp: 217-23 London : British Film Institute, 2001. Sight and sound reader.
Main Stack PN1995.3.F54 2001
PFA PN1995.3.F44 2001 Pacific Film Archive collection; non-circulating

Runyon, Randolph.
"Altman's Short Cuts: Three Unacknowledged Sources." Q/W/E/R/T/Y: Arts, Litteratures & Civilisations du Monde Anglophone. 9: 163-67. 1999 Oct.

Sawyer, David.
"'Yet Why Not Say What Happened?' Boundaries of the Self in Raymond Carver's Fiction and Robert Altman's Short Cuts." In: Blurred boundaries : critical essays on American literature, language, and culture / Klaus H. Schmidt, David Sawyer (eds.)pp: 195-219 Frankfurt am Main : P. Lang, 1996.
Main Stack PS88.B62 1996

Schickel, Richard.
"Short cuts." (review) Time Oct 4, 1993 v142 n14 p80(2) (1255 words)

Schweizer, Harold.
"Robert Altman's Short Cuts: A Phenomenology of Reading." Q/W/E/R/T/Y: Arts, Litteratures & Civilisations du Monde Anglophone. 9: 169-75. 1999 Oct.

Scofield, Martin.
"Closer to Home: Carver versus Altman." Studies in Short Fiction. 33 (3): 387-99. 1996 Summer.
UC users only
"The Raymond Carver short stories Robert Altman used as the basis for his film 'Short Cuts' pursue similar visions in different ways. Carver presented a quiet simplicity on the surface with strong undercurrents of emotion, while Altman preferred a faster pace that did not engage the audience deeply. Carver often ended the story before its narrative was resolved, but Altman recast the stories into overlapping conclusions." [Expanded Academic Index]

"Short cuts." (3 article special section)Film Comment v. 29 (September/October 1993) p. 34-5+

Simon, John.
"Short cuts." (review) National Review Nov 1, 1993 v45 n21 p70(3) (1312 words)

Smith, Gavin
"Faultlines Of a Daydream Nation." Film Comment 29 (5): 36-37 Sep-Oct 1993
UC users only

Smith, Robert.
"Short Cuts to Derrida." Oxford Literary Review. 18 (1-2): 135-44. 1996.

Stewart, Robert.
"Reimagining Raymond Carver on Film: A Talk with Robert Altman and Tess Gallagher." New York Times Book Review. : 3, 41-32. 1993 Sept 12. pgs. 3, 41-32.

Tanner '88

Dowd, Maureen.
"Tanner '88." (TV reviews) The New Republic August 1, 1988 v199 n5 p37(4)

Corry, John.
"Tanner '88." (TV reviews) The New York Times Feb 15, 1988 v137 p17(N) pC20(L) col 3 (18 col in)

Press, Joy
"My Fake Candidate: Robert Altman and Cynthia Nixon Talk About "Tanner"." The Village Voice 49:39 (29 September 2004-5 October 2004) p. 40

Tracey, Grant.
"Tanner '88."(Movie Review). The North American Review 290.1 (Jan-Feb 2005): p53(1).

Waters, Harry F.
"A presidential pretender; Garry Trudeau and Robert Altman parody politics." (Home Box Office special "Tanner '88: The Dark Horse") Newsweek Feb 15, 1988 v111 n7 p82(1)

Zwonitzer, Mark.
"Tanner '88." (TV reviews) Rolling Stone May 5, 1988 n525 p30(2)

Thieves Like Us

Harvey, Stephen; Corliss, Richard
"Outlaws, auteurs and actors. Keith Carradine and Shelley Duvall of 'Thieves like us'." Film Comment Vol X nr 3 (May-June 1974); p 14-15
Comments by R. Corliss on 'Thieves like us', interspersed with comments by K.C. and S.D. on working with Robert

Kinder, Marsha
"The return of the outlaw couple." Film Quarterly Vol XXVII nr 4 (Summer 1974); p 2-10
UC users only
A discussion of a new wave of crime films dealing with outlaw couples and how they relate to other crime films and the political situation in the USA.

Plumb, C.
"Thieves like us; Mississippi dreamin'." Jump Cut nr 2 (July-Aug 1974); p 5-6

Schwartz, Ronald Noir, now and then : film noir originals and remakes, (1944-1999) / Ronald Schwartz. Westport, CT : Greenwood Press, 2001.
Main (Gardner) Stacks PN1995.9.F54 S39 2001

Wexman, Virginia Wright
"Thieves like us; the love scene." Jump Cut nr 2 (July-Aug 1974); p 7

3 Women

Gabbard, Krin
"Altman's 3 Women." Literature Film Quarterly, 1980, Vol. 8 Issue 4, p258, 7p
UC users only

Stephens, Chuck.
"3 Women." Film Comment. Jul/Aug 2004. Vol. 40, Iss. 4; p. 79 (1 page)
UC users only





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