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The Cinema of Steven SoderberghIndie Sex, Corporate Lies, and Digital Videotape$
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Andrew deWaard and R. Colin Tait

Print publication date: 2013

Print ISBN-13: 9780231165518

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231165518.001.0001

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Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
The Cinema of Steven Soderbergh
Author(s):

Andrew deWaard

R. Colin Tait

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231165518.003.0001

This introductory chapter explores the difficulties of pinning down any single defining trait of director Steven Soderbergh's extensive oeuvre. Apart from the scope of Soderbergh's films, anyone attempting a critical film scholarship on Soderbergh will find themselves overwhelmed by the sheer complexity and variety of their subject matter. Soderbergh's filmography covers a wide spectrum of themes and forms that to attempt to chronicle or summarise the ‘major’ elements and thematic periods of his work would overlook the equally important contributions his more ‘minor’ films have to offer. Most of all, Soderbergh's corpus contains many paradoxical elements that defy any attempts at scholarly classification. Yet this paradox in praxis also allows for a study of his oeuvre to be made, via dialectics — a method of reasoned argument in search of truth using the conflict of opposing forces.

Keywords:   Steven Soderbergh, filmography, minor films, dialectics, critical film scholarship

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