This study examines five films of Steven Soderbergh: <em>sex, lies, and videotape</em> (1989), <em>The Underneath</em> (1995), <em>Out of Sight</em> (1998), <em>The Limey</em> (1999), and <em>Traffic</em> (2000). For each film, themes and cinematic form and technique are analyzed with the intent of demonstrating a consistent authorial voice of the director. The investigation reveals that common themes include the protagonist at odds with the world about him, journey, ambiguities and uncertainties in the characters' worlds, and the nondichotomous nature of reality, especially in regard to morality. The study also argues that Soderbergh has evolved a style that favors a nonlinear narrative and parallel editing, frequent use of a hand-held camera, and systematic uses of color. It is concluded that such commonalities in theme and style provide evidence for an evolving artistic vision.
| Identifer | oai:union.ndltd.org:LSU/oai:etd.lsu.edu:etd-0709103-135015 |
| Date | 09 July 2003 |
| Creators | Beale, Donald |
| Contributors | Ronald G. Garay, William W. Demastes, John R. May |
| Publisher | LSU |
| Source Sets | Louisiana State University |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lsu.edu/docs/available/etd-0709103-135015/ |
| Rights | unrestricted, I hereby grant to LSU or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University Libraries in all forms of media, now or hereafter known. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. |
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