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"Soderbergh, Steven"
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Another Steven Soderbergh Experience
How do we determine authorship in film, and what happens when we look in-depth at the creative activity of living filmmakers rather than approach their work through the abstract prism of auteur theory? Mark Gallagher uses Steven Soderbergh's career as a lens through which to re-view screen authorship and offer a new model that acknowledges the fundamentally collaborative nature of authorial work and its circulation. Working in film, television, and digital video, Soderbergh is the most prolific and protean filmmaker in contemporary American cinema. At the same time, his activity typifies contemporary screen industry practice, in which production entities, distribution platforms, and creative labor increasingly cross-pollinate.
Gallagher investigates Soderbergh's work on such films asThe Limey,Erin Brockovich,Ocean's Elevenand its sequels,Solaris,The Good German,Che, andThe Informant!, as well as on theK Streettelevision series. Dispensing with classical auteurist models, he positions Soderbergh and authorship in terms of collaborative production, location filming activity, dealmaking and distribution, textual representation, genre and adaptation work, critical reception, and other industrial and cultural phenomena. Gallagher also addresses Soderbergh's role as standard-bearer for U.S. independent cinema following 1989'ssex, lies and videotape, as well as his cinephilic dialogues with different forms of U.S. and international cinema from the 1920s through the 1970s. Including an extensive new interview with the filmmaker,Another Steven Soderbergh Experiencedemonstrates how industries and institutions cultivate, recognize, and challenge creative screen artists.
eBook
The Positive Impact of Pandemics in Two Selected Speculative Narratives
This article examines Stephen Soderbergh’s film Contagion (2011) and Emily St. John Mandel’s Station Eleven (2014) as a critique of the uncivilized culture of our modern society, which depends on fragile connections and lack of solidarity. Although global pandemics annihilate the world and shatter families, this study demonstrates how they are depicted as a positive tool of change, serving as a force that exposes then undermines the deep-rooted cultural flaws in society and finally offers lessons that help in rebuilding a new civilized world based on human values. Such representation of pandemics in these selected narratives is allegorical, functioning as a mirror that reflects our COVID-19 reality, teaching moral lessons, and contributing to our understanding of the crisis and how we think and act in response.
Journal Article
Steven Soderbergh
Steven Soderbergh's feature films present a diverse range of subject matter and formal styles: from the self-absorption of his breakthrough hit Sex, Lies, and Videotape to populist social problem films such as Erin Brockovich, and from the modernist discontinuity of Full Frontal and filmed performance art of Gray's Anatomy to a glossy, star-studded action blockbuster such as Ocean's Eleven. Using a combination of realism and expressive stylization of character subjectivity, Soderbergh's films diverge from the contemporary Hollywood mainstream through the statements they offer on issues including political repression, illegal drugs, violence, environmental degradation, the empowering and controlling potential of digital technology, and economic inequality._x000B__x000B_Arguing that Soderbergh practices an eclectic type of moviemaking indebted both to the European art cinema and the Hollywood genre film, Aaron Baker charts the common thematic and formal patterns present across Soderbergh's oeuvre. Almost every movie centers on an alienated main character, and Soderbergh has repeatedly emphasized place as a major factor in his narratives. Formally, he represents the unconventional thinking of his outsider protagonists through a discontinuous editing style. Including detailed analyses of major films as well as two interviews with the director, this volume illustrates Soderbergh's hybrid flexibility in bringing an independent aesthetic to wide audiences.
eBook
Circumstantial sublimation and Steven Soderbergh’s ordinary objects
This essay draws from Mari Ruti’s prolific discussions of Lacan, sublimation, and the ethical import of subjective creativity, in confluence with an analysis of the evocative place of objects in several of Steven Soderbergh’s films. Via Ruti and Soderbergh, I treat sublimation as the pragmatic means by which a subject maintains a modicum of independence and creative freedom through a reliance on an external, circumstantial, and relatively independent object.
Journal Article
Podwojone ciała i trauma. Figura sobowtóra w gatunku fantastyki naukowej
Przedmiotem artykułu jest refleksja nad funkcją figury sobowtóra w kontekście traumy w gatunku fantastyki naukowej na przykładzie filmu Solaris (2002) Stevena Soderbergha i serialu Katla (2021) Baltasara Kormákura. Ich twórcy przeciwstawiają się tradycji literackiego gotyku, ugruntowanej przez kanoniczny esej Freuda Niesamowite i przywołanej przez René Girarda w koncepcji „potwornego sobowtóra”. Problematyka egzystencjalna i namysł nad cielesnym aspektem doświadczania inności sytuują omawiane filmy w paradygmacie ekokrytyki. Autorka podkreśla, że – w przeciwieństwie do wielu współczesnych utworów science fiction – nie koncentrują się one na relacji (podwojone) ciało – technologia, lecz (podwojone) ciało – natura. Natura wchodzi tu w bezpośrednią interakcję z człowiekiem, odpowiadając – za pośrednictwem zmaterializowanych ciał sobowtórów – na jego podświadome pragnienia związane z przeżytą traumą. Nieodłącznie w przypadku teorii traumy pojęcia z obszaru psychoanalizy freudowskiej pozwalają wydobyć konstruktywny aspekt konfrontacji z podwojonym ucieleśnionym Innym.
Journal Article
The tactile topologies of Contagion
Can we reconfigure recent work on topological space, so productively brought to bear in an understanding of power in geography, to understand the spatialities of and among flesh, objects and viral life? Here we expand on topology via touch – a 'tactile topology' – that focuses on the material connections among mobile bodies. The engine of topological transformation thus becomes the various materials and forces that grab onto each other, interpenetrating and reassembling at various speeds and intensities, such that diverse proximities and distances, contacts and connections, are made and remade. Grounding our argument via a reading of Steven Soderbergh's 2011 film, Contagion, which tracks the virulent outbreak of a largely fatal zoonotic disease, we speculate on what a tactile topology might feel like, and in particular on what touch implies for the concept of topology.
Journal Article
Dangerous cut
In Steven Soderbergh's classy television show The Knick, set in a New York City hospital in the early 1900s, competitive and obsessively driven surgeon-scientists work on the burning medical issues of the day - identification of blood groups to allow blood transfusions, for example, and facial reconstruction surgery that returns dignity to those disfigured by syphilis. The report, compiled by the Society of University Surgeons (SUS), looked at grants awarded by the National Institutes of Health (NIH)to the 25 top-funded academic medical centres, and found that the proportion of funding to surgical departments dropped from 3% to In Steven Soderbergh's classy television show The Knick, set in a New York City hospital in the early 1900s, competitive and obsessively driven surgeon-scientists work on the burning medical issues of the day - identification of blood groups to allow blood transfusions, for example, and facial reconstruction surgery that returns dignity to those disfigured by syphilis.
Journal Article
