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Rethinking the Familiar in Steven Soderbergh‘s The Limey
Lee Carruthers

This article complicates the notion that Steven Soderbergh‘s films are simply a refashioning of familiar materials, as evidenced by his ongoing appropriation of classical Hollywood and the European art cinema. Through a close analysis of The Limey (1999), this essay argues that Soderbergh‘s film interrogates the idea of familiarity, as such, beginning with the perceptual experience that it generates for viewers. With reference to Victor Shklovsky‘s notion of defamiliarization as well as Martin Heidegger‘s formulation of temporality in Being and Time, this discussion proposes that Soderbergh‘s reiteration of the filmic past can be seen as a meaningful event for film-critical practice that sheds new light upon issues of filmic temporality and film history.

Film Studies
Early twentieth century surgery on screen
Allitt Marie

and experimentation are often central, so it becomes a case of simultaneous discovery for both the surgeon and the audience. I explore the representations of growing medical knowledge, framed by acts of surgical intervention, in a space of shared, innovative surgical developments. The period medical drama The Knick ran for two seasons between 2014 and 2015, directed by Steven Soderbergh, depicting a

in Diagnosing history
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Epstein at the crossroads
Christophe Wall-Romana

cinematography, the focus on the body, and the temporal intensification of the present that links them. We will follow briefly how these practical ideals made their way into films by Robert Bresson, Steven Soderbergh, and Ang Lee. References Abel, Richard (1984), French Cinema: The First Wave, 1915–1929, Princeton: Princeton University Press. — (ed.) (1988), French Film Theory and Criticism, vol. 1, 1909–29, Princeton: Princeton University Press. Aumont, Jacques (ed.) (1998), Jean Epstein: cinéaste, poète, philosophe, Paris: La Cinémathèque française. Cendrars, Blaise (2001

in Jean Epstein
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Epstein as pioneer of corporeal cinema
Christophe Wall-Romana

that shaped Epstein’s films has clearly re-emerged within the work of recent filmmakers similarly favouring corporeal aesthetics over narration. I can only speculate here about the complex reasons for such a resurgence: they likely involve, together with a mix of direct and indirect influence from Epstein, a renewed interest in corporeality connected with digital images and digital art, and a return to concepts close to photogénie caused by the perceived end of analogue cinema.7 We might begin with Steven Soderbergh’s Solaris (2002), a readaptation of Polish writer

in Jean Epstein
The Bank Job (2008) and the British heist movie
James Chapman

(1973), Sidney Lumet’s Dog Day Afternoon (1975), Joseph Sargent’s The Taking of Pelham 123 (1974), William Friedkin’s The Brinks Job (1978), Quentin Tarantino’s Reservoir Dogs (1992) and Steven Soderbergh’s remake of Ocean’s Eleven (2001) and its sequels. The heist formula can also be found in other genres, including the Western ( The War Wagon , 1967) and

in Crank it up
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Celestino Deleyto

Jack, a bank robber, and Karen, a cop, meet in the boot of a car when he breaks out of jail. They become attracted to one another as they discuss Faye Dunaway movies. Their romance develops and intensifies as one chases after the other, in more ways than one. The ambiguous ending suggests that sex may have become more important than the (federal) law. This is one way of describing the plot of Steven

in The secret life of romantic comedy
Open Access (free)
Ian Scott and Henry Thompson

Bradshaw to comment in the Guardian that the film lacked any of the ‘docu-​realist fervour of Steven Soderbergh’s Traffic [2001]’.7 If Savages was short of some of the disruptive energy that had distinguished Natural Born Killers (1994), or a little of the realist immediacy of Traffic, that change had as much to say about the entertainment industry’s Mo ney steady commodification of violence, and society’s tolerance of it, as it did of Stone’s commitment to his aesthetic: the very issue –​reality/​fantasy, twenty years later, the real/​virtual world –​that Stone was

in The cinema of Oliver Stone
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An American independent film made by Mexicans
Deborah Shaw

. Histories and critical analyses of independent film place auteurist directors as central to the construction of the category, with most mentioning George Lucas, Martin Scorcese, Robert Altman, Jim Jarmusch, and more recently Spike Lee, David Lynch, John Sayles, Steven Soderbergh, Kevin Smith, Gus Van Sant, and Todd Haynes, among others (see Berra, 2008; Holmlund and Wyatt, 2005; King, 2005; Levy, 1999; Murphy, 2007). When looked at in this context of American directors, it is quite an achievement that Iñárritu had managed to transform himself from Mexican director to

in The three amigos
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

transition to Hollywood: following her Academy Award for Best Actress in a Leading Role for La vie en rose (dir. Olivier Dahan, 2007 ), she was subsequently cast in Inception (dir. Christopher Nolan, 2010), Contagion (dir. Steven Soderbergh, 2011 ), Midnight in Paris (dir. Woody Allen, 2011 ) and The Immigrant (dir. James Gray, 2013 ). There is, however, another significant difference between Gainsbourg and these French expatriate stars. According to Vincendeau, stars ‘carry the “burden” of national identity, being constantly defined by their [nationality

in Charlotte Gainsbourg
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

potentially profitable European film auteur who had already established himself in the US with Mujeres al borde de un ataque de nervios but also a perfect match between the film’s polemical representation of sex and violence and Miramax’s aggressive push to become a mini-major in the US. In 1989 Miramax released Steven Soderbergh’s Sex, Lies, and Videotape , which ushered in the era of the ‘indie

in Contemporary Spanish cinema and genre