Book is out now!

Buy from Columbia University PressAmazon (Kindle), Amazon Canada (Kindle), Amazon UK (Kindle), Barnes & Noble (Nook), IndieBound, Powell’s, Google Play, Book Depository, or Waterstones

Description: The industry’s only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood’s most innovative and prolific filmmaker. A Palme d’or and Academy Award-winner, Soderbergh has directed nearly thirty films, including political provocations, digital experiments, esoteric documentaries, global blockbusters, and a series of atypical genre films. This volume considers its slippery subject from several perspectives, analyzing Soderbergh as an expressive auteur of art cinema and genre fare, as a politically-motivated guerrilla filmmaker, and as a Hollywood insider. Combining a detective’s approach to investigating the truth with a criminal’s alternative value system, Soderbergh’s films tackle social justice in a corporate world, embodying dozens of cinematic trends and forms advanced in the past twenty-five years. His career demonstrates the richness of contemporary American cinema, and this study gives his complex oeuvre the in-depth analysis it deserves.

More details here: About the Book

Author Interview on UT Austin’s Website

Tait Banner

Recently, co-author R. Colin Tait was interviewed about The Cinema of Steven Soderbergh by his alma mater, The University of Texas at Austin and the Department of Radio, Television and Film. Read the full interview here.

Tait will also present on Soderbergh’s film Out of Sight at university screenings at Austin College on October 15th and at UT Austin on October 17th – accompanied with a Q & A after the screenings.

Review of “The Cinema of Steven Soderbergh”

Dixon, W.W. “Review of The Cinema of Steven Soderbergh: indie sex, corporate lies, and digital videotape.” Choice: Current Reviews for Academic Libraries. Sept 2013, Vol. 51 Issue 1, p83.

Steven Soderbergh is one of contemporary Hollywood’s most innovative and prolific filmmakers, and books on his work are coming fast and furious just as fans and followers speculate about his retirement from the cinema. Mark Gallagher’s recent Another Steven Soderbergh Experience: Authorship and Contemporary Hollywood was one such volume. Now readers have another excellent book on this maverick, shape-shifting filmmaker who, moving with ease between big budget spectacle and indie introspection, tackles social justice in a corporate world with films embodying dozens of cinematic trends and forms advanced in the past 25 years. A welcome addition to the long-running “Directors’ Cut” series, this book extends the dialogue on Soderbergh in a number of new directions, concentrating on issues of auteurship and identity in the director’s oeuvre, and offering compelling readings of The LimeySolaris, and The Good German, among other films. Immaculately researched and illustrated with frame blowups throughout the text, the volume is an important contribution to the field and demonstrates just how complex and how important Soderbergh is to late-20th- and early-21st-century filmmaking.

Summing Up: Highly recommended. Lower-level undergraduates and above.

W. W. Dixon, University of Nebraska–Lincoln

Co-Author Andrew deWaard Profile

Co-Author of The Cinema of Steven Soderbergh, Andrew deWaard

Recently, UCLA’s Daily Bruin wrote and in-depth profile with Andrew deWaard, Ph. D. Candidate and co-author of The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies and Digital Videotape. Click here to read about the book’s genesis, the challenges of writing as a graduate student, his collaboration with Colin Tait and a testimonial from his doctoral supervisor, Professor John Caldwell.

Book Featured on Columbia University Press Website

This week, Columbia University Press has been featuring The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies and Digital Videotape on their website.

Click here to read a feature interview with co-authors Andrew deWaard and R. Colin Tait and here to read a new essay from the authors entitled, “‘Dirtied Star Images and Acting Against Type in Behind the Candelabra.”