Nashville
Nashville
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纳什维尔
DOI：
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发表时间：
2018
期刊：
影响因子：
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通讯作者：
Lydia Peelle
中科院分区：
文献类型：
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作者：
Lydia Peelle
当然，奥特曼还执导过其他杰出的电影。他起步很慢--在1970年的喜剧《S》之前，他拍过很多电视剧和几部小电影，这部电影介绍了他的个人风格，开启了他职业生涯的主要阶段--他(偶尔)的人气高峰被(频繁)相对默默无闻的时期隔开，其中最长的一段时间明显延续到了20世纪80年代。尽管如此，他还是执导了比大多数电影制作人都多的重要电影，从《麦凯布和米勒夫人》、《像我们一样的小偷》到《玩家》和《捷径》，他被大多数思想正确的影迷视为一位原创的、有影响力的艺术家。说《纳什维尔》是他的杰作，就是说它是现代美国电影的核心人物的核心作品。
Altman has directed other films of distinction, to be sure. He was a slow starter—years of TV episodes and a few minor movies preceded the 1970 comedy “M*A*S*H,” which introduced his personal style and launched the major phase of his career—and his (occasional) peaks of popularity have been separated by (frequent) spells of relative obscurity, the most lengthy of which extended clear through the 1980s. Still, he has directed a larger number of momentous movies than most filmmakers manage to do, from “McCabe and Mrs. Miller” and “Thieves Like Us” to “The Player” and “Short Cuts,” and he is regarded by most right-thinking cinephiles as an original and influential artist. To say “Nashville” is his masterpiece is to say it’s a central work from a central figure of modern American cinema.