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.
Columbia Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us .