Editing Nashville (film) (section)

===Political content===
Film scholars Yoram Allon, Del Cullen, and Hannah Patterson describe ''Nashville'' as an "epic study of ambition, greed, talent, and politics in American culture, with the country and western music businesses serving as a microcosm of American society."{{sfn|Allon|Cullen|Patterson|2002|p=9}} Ray Sawhill of ''[[Salon (website)|Salon]]'' views the film as reflective of the 1970s' political climate, writing that the film "comes across as a piece of [[New Journalism]]; it's like [[Norman Mailer]]'s reports from conventions and rallies. Altman is using Nashville metaphorically—he's really talking about politics. I wish he didn't make that quite so explicit. There's a reference to Dallas and a few to the [[Kennedy family|Kennedys]], as well as some red-white-and-blue visual cues, that the film could have done without. Still, the result is an X-ray of the era's uneasy political soul. What it reveals is a country trying to pull itself together from a nervous breakdown."<ref name=salon>{{cite web|url=https://www.salon.com/control/2000/06/27/nashville_2/|title=A movie called "Nashville"|work=[[Salon (website)|Salon]]|date=June 27, 2000|author=Sawhill, Ray|archive-url=https://web.archive.org/web/20190815051317/https://www.salon.com/control/2000/06/27/nashville_2/|archive-date=August 15, 2019}}</ref>