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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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Returning to the Scene of The Crime

Returning to the Scene of The Crime

Solaris and the Psychoanalytic Detective

Chapter:
(p.89) Chapter Five Returning to the Scene of The Crime
Source:
The Cinema of Steven Soderbergh
Author(s):

Andrew deWaard

R. Colin Tait

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231165518.003.0006

This chapter explores issues of temporal, psychological, and societal traumas as they are rendered bare onscreen in Solaris (2002) and its ‘psychoanalytic detective’. Solaris conceptualises the process of memory details and negotiation of personal histories in not only immersing the spectator in the character's memories, but in allowing the characters to actually interact directly with these recollections, as a result of the planet Solaris' psychological effects on the inhabitants of the orbiting space station. In effect, both the protagonist and the viewer are required to return to the scene of the psychoanalytic crime. Solaris is one of the first Hollywood films to negotiate the larger trauma of 9/11 within a diffused cultural space. As a post-9/11 film, Solaris' story of an individual coming to terms with trauma provides an opening to view the larger issues of a society, particularly as it copes with the open wound of a traumatic event.

Keywords:   trauma, Solaris, 9/11, psychoanalytic detective, memory, personal histories, psychological effects, post-9/11 film

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