No American playwright-scenarist-director has been so consistently obsessed with the meaning of masculinity than David Mamet. No writer of his stature has attempted with such tenacity to tie the gender-specific eruption of predatory aggressiveness to the commonplace operations of American business. In a series of works that began with American Buffalo, House of Games and Speed-the-Plow and reached a certain culmination with Oleanna, Mamet has addressed with exceptional savagery how contemporary men have negotiated the economic and social minefield that the relentless pursuit of profit and the egalitarian demands of women have registered. The films that he wrote and directed explore these phenomena by also recording the vernacular at its most corrosive pitch.

中文翻译：

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大卫·马梅特（David Mamet）电影中的男子气概

没有一个美国剧作家，导演是大卫·梅梅特（David Mamet）如此痴迷男性气概的人。没有一个如此身高的作家试图如此顽强地将掠夺性侵略的性别特定爆发与美国企业的平凡运作联系起来。在一系列由美国水牛城，盖姆斯之家和高速犁开始的作品，以及与奥莱安娜达成的某种巅峰之作中，马梅特用非凡的野蛮态度论述了当代人如何与经济和社会雷区进行谈判，从而不懈地追求利润和妇女的平等要求已得到体现。他撰写和执导的电影也通过记录白话车最腐蚀的间距来探索这些现象。