| Content Note: |
Introduction / R. Barton Palmer and Steven M. Sanders -- Knowledge, truth, sexuality. Knowledge, truth, and thought experiments in Schizopolis and Sex, lies, and videotape / David Rodroguez-Ruiz -- Love, truth,and the medium in Sex, lies, and videotape / Yannis Tzioumakis -- Amplified discourse and desire in Sex, lies, and videotape / Murray Pomerance -- Temporality, intertextuality, genreAlain Resnais meets film noir in The underneath and The limey / R. Barton Palmer -- Consciousness, temporality, and the crime-revenge genre in The limey / Geoff King -- -Intertextuality, broken mirrors, and The good German / Andrew deWaard -- Remade by Steven Soderbergh / Aaron Baker -- Self-reflexivity, self-centeredness, Autobiography. Philosophical reflections on Steven Soderbergh's Kafka / Ivo Ritzer -- Responsibility and self-centered narrationin Erin Brockovich / Andrew Patrick Nelson -- Schizopolis as philosophical autobiography / Drew Morton -- Politics, morals, methodology. Mr. Soderbergh goes to Washington / Steven M. Sanders -- Schizoanalyzing The informant / David Sterritt -- Competing modes of capital in Ocean's eleven / R. Colin Tait -- An ethical analysis of Traffic / Shai Bidermanand William J. Devlin -- Simulacra, space, Solaris. The philosophy of space and memory in Solaris / Douglas McFarland -- Solaris, cinema, andSimulacra / Michael Valdez Moses |