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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.

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.

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.

This interpretivist study engaged the language frames (i.e. beliefs and attitudes) and self-reported practices of 22 EAL-identifying graduate students at a Canadian post-secondary institution. These students participated in a critical language awareness curriculum that encouraged a shift away from characterizing “English” as a monolithic language with uniform lexico-grammatical norms and towards “Englishing,” a situated activity consisting of translingual, semiotic, and environmental resources. During an academic semester, the participants attended a workshop that challenged native-speakerist and raciolinguistic ideologies, completed self-directed modules about translanguaging and negotiation strategies, and generated reflections about their classroom and lab experiences. Using frame analysis and interpretative phenomenological analysis, participants then reviewed their learning artifacts (e.g., survey responses and idiolect maps) during final interviews to consider any shifts from their initial language frames. Acting as co-interpreters alongside the researcher, the students provided valuable insights into how their languaging beliefs, practices, and desires are entangled within ideological assemblages inhabited by diverse interlocutors and accelerating technologies. As a result of participating in the study, students reported back that they reduced perfectionistic thoughts about their spoken languaging and appreciated the inevitability of linguistic variation across all traditionally named languages. Yet many participants underscored a reluctance to deviate from standard(ized) English in formal writing and in evaluative contexts, expressing concerns about being perceived as using less prestigious varieties of Englishes. This study offers unique insights into EAL students' conceptualizations and interpretations of their own languaging and acknowledges their idiosyncratic strategies as creative and agentive acts to mitigate imbalanced socio-material conditions of translingual precarity. The Englishing study provided a forum for students to develop and hone their own sites of languaging praxis, thus revealing a range of enacted choices between “standard” English and translanguaging. Pedagogical implications centre on fostering non-judgmental metalanguaging spaces that elicit students’ translingual learning strategies beyond a monolingual “English-only” paradigm.

The article discusses the function of the figure of the double in the context of trauma in the science fiction genre, based on the example of the film Solaris (2002) by Steven Soderbergh and the series Katla (2021) by Baltasar Kormákur. Their creators strongly oppose the literary Gothic tradition as established by Freud’s canonical essay “The Uncanny” and evoked by René Girard in the concept of the “monstrous double.” Existential issues and reflection on the corporeal aspect of experiencing otherness place the discussed films in the paradigm of ecocriticism. The author emphasizes that, unlike many contemporary science-fiction works, they do not focus on the (doubled) body – technology relationship, but on the (doubled) body – nature relationship. Here, nature interacts directly with humans, responding – through the materialized bodies of doppelgängers – to their subconscious desires related to the trauma they have experienced. Concepts from the field of Freudian psychoanalysis inherent in trauma theory allow us to bring out the constructive aspect of confrontation with a doubled embodied Other

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.

[...]if there's still one thing that can disturb the incessant chattering of Parisian terraces, it's the sound of someone simply clearing her throat. Godard argues that cinema failed both itself and the twentieth century when it neglected its documentary function and refused to bear witness. Because cinema sacrificed the openness and ambivalence of the image to the tyranny of the script. \"1 Cinema sold its soul to the devil—the same fiend who will now leave thousands of permanent and freelance workers along the way if that's what's needed to get \"the industry\" back on track. [...]everything will change.