The Philosophy of Steven Soderbergh

Contents

CONTENTS Acknowledgments ix Introduction 1 R. Barton Palmer and Steven M. Sanders Part 1. Knowledge, Truth, Sexuality Knowledge, Truth, and Thought Experiments in Schizopolis and sex, lies, and videotape 13 David Rodríguez-Ruiz Love, Truth, and the Medium in sex, lies, and videotape 29 Yannis Tzioumakis Amplified Discourse and Desire in sex, lies, and videotape 51 Murray Pomerance Part 2. Temporality, Intertextuality, Genre Alain Resnais Meets Film Noir in The Underneath and The Limey 69 R. Barton Palmer Consciousness, Temporality, and the Crime-Revenge Genre in The Limey 91 Geoff King Intertextuality, Broken Mirrors, and The Good German 107 Andrew deWaard Remade by Steven Soderbergh 121 Aaron Baker Part 3. Self-Reflexivity, Self-Centeredness, Autobiography Philosophical Reflections on Steven Soderbergh’s Kafka 145 Ivo Ritzer Responsibility and Self-Centered Narration in Erin Brockovich 159 Andrew Patrick Nelson Schizopolis as Philosophical Autobiography 173 Drew Morton Part 4. Politics, Morals, Methodology Mr. Soderbergh Goes to Washington 197 Steven M. Sanders Schizoanalyzing the Informant 213 David Sterritt Competing Modes of Capital in Ocean’s Eleven 231 R. Colin Tait An Ethical Analysis of Traffic 247 Shai Biderman and William J. Devlin Part 5. Simulacra, Space, Solaris The Philosophy of Space and Memory in Solaris 267 Douglas McFarland Solaris, Cinema, and Simulacra 281 Michael Valdez Moses Contributors 305 Index 309 ...