With his complex and unconventional films, Robert Altman often draws an impassioned response from critics but bafflement and indifference from the general . Robert Altman's Subliminal Reality Paperback – March 28, 2002. by. Robert T. Self (Author).
With his complex and unconventional films, Robert Altman often draws an impassioned response from critics but bafflement and indifference from the general public. Some audiences have dismissed his movies as insignificant. Find all the books, read about the author, and more. Are you an author? Learn about Author Central.
Xxix, 332 p. : 24 cm. Filmography: p. 281-282. Includes bibliographical references (p. 283-315) and index. Machine generated contents note: Introduction: Authorial Voices vii -Part . arrative Formations - . eading Strategies: Constructing Kansas.
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Subliminal reality in the films of Robert Altman displays the continuing vitality of an American art cinema. Within a critical context that occasionally dismisses the concept of art cinema in American film.
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Some audiences have dismissed his movies as insignificant, unsatisfying, and unreadable. In Subliminal Reality, Robert T. Self sheds light on Altman's work and provides the most comprehensive analysis of his films to date.
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Showing all 86 items. Minneapolis: University of Minnesota Press, 2002. May 14 2004, pg. 8-9, by: David Usborne, "'My films are always the director's cut'".
Delivery Information. Robert Altman’s Subliminal Reality. 9780816637898: Hardback Release Date: 28th March 2002. 9780816637904: Paperback Release Date: 28th March 2002.
In Subliminal Reality, Robert T. Self sheds light on Altman's work and provides the most comprehensive analysis of his films to date. With close readings of classics like MASH, McCabe and Mrs. Miller, and Nashville, and more recent films like The Player, Short Cuts, and Cookie's Fortune, Self asserts the value of Altman's work not only to film theory and the entertainment industry, but to American culture itself.
In his analysis, Self identifies Altman's films particularly as they address issues of form, identity, and industry. He explains how Altman critiques moviemaking forms by using an open, fragmented mode of storytelling and by turning conventional Hollywood genres inside out. He examines Altman's characterization of social and individual identity as fragile and fragmentary and his depiction of antiheroic characters debilitated by their socially constructed gender roles. Finally, Self shows how Altman challenges the entertainment industry itself, questioning its methods and motives and critiquing its role in our cultural alienation.
Self frames his analysis of Altman's work with a discussion of the director's efforts to create a "subliminal reality" in his narratives-to touch audiences on an unconscious level and to recognize the unspoken, and unspeakable, dimensions in human interactions. According to Self, this striving for "subliminal reality" makes Altman's films not only exemplary of the potential of art cinema narration, but instrumental in keeping such narrative alive.
Robert T. Self is professor of English at Northern Illinois University.