A Companion to Robert Altman

Avainsanat: Robert Altman, post-war American cinema, New Hollywood, television, industrial film, sound recording and multi-tracking, auteurism, film style, film locations, The Delinquents, The James Dean Story, Combat, That Cold Day in the Park, Countdown, MASH, Brewster McCloud, McCabe &, Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, Nashville, Buffalo Bill and the Indians, 3 Women, A Wedding, Quintet, A Perfect Couple, HealtH, Popeye, Come Back to the 5 &, Dime, Jimmy Dean, Jimmy Dean, Streamers, Secret Honor, O.C. and Stiggs, Fool for Love, Beyond Therapy, The Caine Mutiny Court-Martial, Tanner ’88, Vincent &, Theo, The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie’s Future, Dr T &, the Women, Gosford Park, The Company, Tanner on Tanner, A Prairie Home Companion, Robert Altman, post-war American cinema, New Hollywood, television, industrial film, sound recording and multi-tracking, auteurism, film style, film locations, The Delinquents, The James Dean Story, Combat, That Cold Day in the Park, Countdown, MASH, Brewster McCloud, McCabe &, Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, Nashville, Buffalo Bill and the Indians, 3 Women, A Wedding, Quintet, A Perfect Couple, HealtH, Popeye, Come Back to the 5 &, Dime, Jimmy Dean, Jimmy Dean, Streamers, Secret Honor, O.C. and Stiggs, Fool for Love, Beyond Therapy, The Caine Mutiny Court-Martial, Tanner ’88, Vincent &, Theo, The Player, Short Cuts, Prêt-à-Porter, Kansas City, The Gingerbread Man, Cookie’s Future, Dr T &, the Women, Gosford Park, The Company, Tanner on Tanner, A Prairie Home Companion, Film Theory