Home Cultural Studies 7 “Here Comes the Hot-Stepper”: The Hollywood Renaissance, Indie Film, and Robert Altman’s Comeback in the 1990s
Chapter
Licensed
Unlicensed Requires Authentication

7 “Here Comes the Hot-Stepper”: The Hollywood Renaissance, Indie Film, and Robert Altman’s Comeback in the 1990s

  • Yannis Tzioumakis
View more publications by Edinburgh University Press
© 2021, Edinburgh University Press, Edinburgh

© 2021, Edinburgh University Press, Edinburgh

Chapters in this book

  1. Frontmatter i
  2. Contents v
  3. List of Figures vii
  4. Notes on Contributors ix
  5. Acknowledgments xi
  6. Introduction: Autumnal Altman—Rethinking his Last Quarter Century 1
  7. Part I The Creative Process
  8. Figure I.1 Robert Altman on the set of Short Cuts. Photo by Joyce Rudolph. Courtesy of Special Collections Research Center, University of Michigan Library 12
  9. 1 I Yam What I Yam What I Yam: Altman and the Transpositional Poetics of Popeye 13
  10. 2 For Real: Tanner ’88, Tanner on Tanner, and the Political Spectacle in the Post-Network Era 30
  11. 3 Home-makers: Examining the Altmans’ Place-based Production Practices in Cookie’s Fortune 47
  12. 4 A Perfect Couple: The Altman–Rudolph Connection 65
  13. 5 Unmade Altman: What the Archive Tells Us 81
  14. Part II Industrial Frameworks
  15. Figure II.1 Storyboard of the storm sequence in Dr. T & the Women. Courtesy of Special Collections Research Center, University of Michigan Library. 98
  16. 6 Offbeat and Out of Sync: Popeye and the Failure of an Auteur-Driven Franchise 99
  17. 7 “Here Comes the Hot-Stepper”: The Hollywood Renaissance, Indie Film, and Robert Altman’s Comeback in the 1990s 117
  18. 8 “I Fiddle on the Corner Where They Throw the Coins”: Altman’s Brand in Europe 137
  19. Part III New Perspectives on Altman
  20. Figure III.1 Robert Altman on the set of Dr. T & the Women. Photo by Zade Rosenthal. Courtesy of Special Collections Research Center, University of Michigan Library 158
  21. 9 Fantasies and Fangirls: Gender and Sexuality in Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean 159
  22. 10 Countering Robert Altman’s Sexual Outlaws: Visibility, Representation, and Questionable Social Progress 172
  23. 11 The Affection of Death 190
  24. Part IV Collaborator Interviews
  25. Figure IV.1 Stephen Rea in Prêt-à-Porter as drawn by fashion illustrator Gladys Perint Palmer. Courtesy of Special Collections Research Center, University of Michigan Library 196
  26. 12 Allan F. Nicholls 197
  27. 13 Alan Rudolph 202
  28. 14 Ira Deutchman 209
  29. 15 Matthew Seig 218
  30. 16 Wren Arthur 225
  31. 17 Joshua Astrachan 229
  32. 18 Anne Rapp 236
  33. 19 Andrew Dunn 243
  34. 20 Mitchell Zuckoff 252
  35. Index 259
Downloaded on 21.10.2025 from https://www.degruyterbrill.com/document/doi/10.1515/9781474478878-013/html?lang=en&srsltid=AfmBOop2VeZMZQg_sZO5uXUagDTckAbPzUwXwzC2mDntSDiwQLjOz7yj
Scroll to top button