Steven Soderbergh:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles

Articles and Books on Individual films

Books/Videos

Biskind, Peter.
Down and dirty pictures : Miramax, Sundance, and the rise of independent film / Peter Biskind. New York : Simon & Schuster, c2004.
Main (Gardner) Stacks PN1999.M57 B57 2004 AVAILABLE
Morrison PN1999.M57 B57 2004

Dickenson, Ben.
"Steven Soderbergh and the brief independent boom." In: London ; New York : I.B. Tauris ; New York, NY : In the United States and Canada distributed by Palgrave Macmillan, 2006.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.P6 D53 2006
Moffitt PN1995.9.P6 D53 2006

Dillon, Steven
"Steven Soderbergh's Tinted World." In: The Solaris effect : art & artifice in contemporary American film / Steven Dillon. Austin : University of Texas Press, 2006.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 D47 2006

Goodridge, Mike.
"Steven Soderbergh" In: Directing / Mike Goodridge. Boston : Focal Press, 2002.
Main Stack PN1998.A2.G66 2002

Hanson, Peter
The cinema of Generation X : a critical study of films and directors / by Peter Hanson. Jefferson, NC : McFarland & Co., c2002.
Main (Gardner) Stacks PN1993.5.U6 H34 2002
Pacific Film Archive PN1993.5.U6 H34 2002

Soderbergh, Steven
Getting away with it : or, The further adventures of the luckiest bastard you ever saw
Steven Soderbergh ; also starring Richard Lester. London : Faber and Faber, 1999.
Main Stack PN1998.3.S593.A5 1999
PFA PN1998.3.S662.A5 1999

Steven Soderbergh : interviews
Edited by Anthony Kaufman. Jackson : University Press of Mississippi, c2002.
Main Stack PN1998.3.S593.A5 2002

Wood, Jason.
The Pocket Essential Steven Soderbergh / Jason Wood. Harpenden : Pocket Essentials, 2002.
Full text available online (UCB users only)

Journal Articles

Daly, Anna
"Steven Soderbergh" (Great Directors - A Critical Database) Senses of Cinema

Henry M, Soderbergh S
"An interview with Steven Soderbergh - Like a gentle bomb that silently detonates." Positif (504): 21-24 FEB 2003

Johnston, Sheila.
"The flashback kid.(Steven Soderbergh, film director)(Interview)." Sight and Sound 9.11 (Nov 1999): 12(3).
"Steven Soderbergh's latest motion picture 'The Limey' is to be screened at the London Film Festival during November 1999. Soderbergh's successes to date include 'Sex, Lies and Videotape', which won the Palme d'Or at the Cannes Film Festival. A number of less successful releases prompted a retreat into production and script-writing, however, it was 'Out of Sight' that heralded Soderbergh's return to the forefront of the motion picture industry." [Expanded Academic Index]

Kehr, Dave
"The hours and times." Film Comment Vol XXXV nr 5 (Sept-Oct 1999); p 40-44
"After practically inventing the American independent film with sex, lies and videotape, Steven Soderbergh has spent the ensuing years fleeing from any further association with the movement. A stylistic chameleon, he appears to approach each new work as the contradiction of the one that preceded it. All of his films reflect the same elegance of construction, with overlapping narratives and shifting time frames. All of them share the same sense of emotional reserve, although their coolness of tone does not suggest a lack of passion. An overview of Soderbergh's films is provided." [Art Index]

Perren, Alisa
"Sex, Lies and Marketing: Miramax and the Development of the Quality Indie Blockbuster." Film Quarterly, Vol. 55, No. 2. (Winter, 2001-2002), pp. 30-39.
UC users only
"In August 1989, Miramax's release of sex, lies and videotape marked a turning point in American independent cinema. Although most independent distributors who had thrived in the 1980s declared bankruptcy by the end of the decade, a few companies were poised to have a notable impact on the industrial structure and aesthetics of low-budget filmmaking in the 1990s. The movie sex, lies and videotape ushered in the era of the indie blockbusters, films that, on a smaller scale, mirrored the exploitation marketing and box-office performance of the major studio high-concept event pictures. On a cost-to-earnings ratio, Steven Soderbergh's production, with its $1.1 million dollar budget and $24 million-plus takings in the North American box office, was better investment than Batman, which made $250 million in domestic box office on an investment of $50 million." [Art Index]

"Soderbergh, Steven. (filmmaker)." Current Biography 59.n10 (Oct 1998): 51(4).
Steven Soderbergh displays an eccentric career as a filmmaker because of his unconventional attitude towards making films. Soderbergh became the youngest director to win the grand prize, Palme d'Or, at the Cannes Film Festival when he made his first feature, "Sex, Lies and Videotape" in 1989.

Soderbergh, Steven
Getting away with it : or, The further adventures of the luckiest bastard you ever saw London : Faber and Faber, 1999.
MAIN: PN1998.3.S593 A5 1999
PFA : PN1998.3.S662 A5 1999

Taubin, Amy
"Degraded dupes: Steven Soderbergh." Sight & Sound v. ns17 no. 3 (March 2007) p. 26-9
UC users only
"Steven Soderbergh's contributions to cinema, including his newest film The Good German, are discussed. Ever since his debut feature sex, lies, and videotape in 1989, Soderbergh has offset his considerable successes with dubious choices. In The Good German, however, his efforts to combine incompatible styles are strained. The film is an adaptation of a novel by Joseph Kanon that is set in Berlin in 1945 and brings together aspects of a military-occupation procedural, an espionage thriller, and a romance into a humanistic moral tale. Paul Attanasio's script is incoherent and altogether lacking in dramatic logic, but the film is invariably interesting and sufficiently beautiful, at times, to forget its narrative failings. A few sequences also serve as reminders of Soderbergh's capacity for dazzlingly inventive direction." [Art Index]

Articles and Books on Individual films

Che!

Clover, Joshua
"Cinema for a New Grand Game." Film Quarterly; Summer2009, Vol. 62 Issue 4, p6-9, 4p
UC users only

Hoberman, J.
"Behold the Man." Virginia Quarterly Review, Winter2009, Vol. 85 Issue 1, p202-209, 8p
UC users only

Taubin, Amy
"Film Making on an Epic Scale." Film Comment, Sep/Oct2008, Vol. 44 Issue 5, p24-28, 4p
UC users only

Wallis, Victor.
"Interpreting revolution: Che: Part I and Part II." Jump Cut: A Review of Contemporary Media, Spring2009, Issue 51, p29-29, 1p
UC users only

Mollin, Marian.
"The Camden 28." Sixties: A Journal of History, Politics & Culture, 2 Dec 2008
UC users

Bubble

Taubin, A.
"Bubble." Film Comment v. 42 no. 1 (January/February 2006) p. 73

Woodward, Richard B.
"Reality play: Steven Soderbergh's Bubble violates every commercial code by focusing its lens on the crisis facing workers in rustbelt America." The American Prospect 17.1 (Jan 2006): 49(3).

Erin Brockovich

Bingham, Dennis.
"Erin Brockovich: Hollywood Feminist Revisionism, After a Fashion." In: The biopic as contemporary film genre / Dennis Bingham. New Brunswick, NJ : Rutgers University Press, 2010.
Full-text available online [UC Berkeley users only]

Doherty, Thomas
"Erin Brockovich." Cineaste Vol XXV nr 3 (June 2000); p 40-41
UC users only
"A review of Erin Brockovich, a film directed by Steven Soderbergh. The film deals with Brockovich, a working-class single mother who painstakingly gathers evidence and interviews hundreds of victims to link the contamination of ground water below the hamlet of Hinckley, California, to the Pacific Gas and Electric Company. She then leads a direct-action lawsuit that leads to a record judgment of $333 million. While the film's surface politics are environmentally sound, this star vehicle for actress Julia Roberts is propelled by well-established conventions: The company's crime is not a violation of civil law, but rather a sin against nature, a rape of the land." [Art Index]

Jacobson, H.
"Steven Soderbergh, king of Cannes: truth or consequences." [interview]. Film Comment v. 25 (July/August 1989) p. 22-4+

McCann, Michael; Haltom, William.
"Ordinary Heroes vs. Failed Lawyers—Public Interest Litigation in Erin Brockovich and Other Contemporary Films." Law & Social Inquiry, Fall2008, Vol. 33 Issue 4, p1043-1070, 28p
UC users only

Nichols, Peter M.
"Erin Brockovich.(Review)." The New York Times (March 24, 2000 pB10(N) pE10(L) col 5 (10 col): E10(L).

O'Hehir, Andrew
"Erin Brockovich.(Review)." Sight & Sound v. ns10 no. 5 (May 2000) p. 47-8
UC users only
"Julia Roberts's complex and delightful performance is the centerpiece of Erin Brockovich. The brilliance of her depiction lies in the edgy, defensive quality that she puts beneath Erin's aggressive hotness. Considerable praise is also due to Soderbergh's restrained, respectful direction--he never sentimentalizes the David-and-Goliath story or tricks it up with unnecessary cinematic gamesmanship." [Art Index]

Roth, Elaine
"'I Just Want to Be a Decent Citizen': Melodrama as Political Appeal in Erin Brokovich." Feminist Media Studies, vol. 4, no. 1, pp. 51-66, 2004 Mar
UC users only

Scott, A.O.
"High ideals, higher heels.(Review)." The New York Times (March 17, 2000 s0 pB1(N) pE1(L) col 3 (35 col): E1(L).

Shaman, Cory
"Testimonial Structures in Environmental Justice Films." In: Framing the world : explorations in ecocriticism and film / edited by Paula Willoquet-Maricondi. Charlottesville : University of Virginia Press, 2010.
Main (Gardner) Stacks New books PN1995.9.E78 F73 2010

Soderbergh, S.
"Soderbergh on Soderbergh." Film Comment v. 37 no. 1 (January/February 2001) p. 30
The writer discusses the films he has directed, including Kafka, Out of Sight, The Limey, and Erin Brockovich.

Steyn, Mark.
"Erin Brockovich.(Review)." Spectator (April 8, 2000): 50(2).

Wade, Roger; O'Hehir, Andrew
"A law unto herself." Sight & Sound Vol X nr 5 (May 2000); p 14-16,47-48
UC users only An analysis of how Steven Soderbergh's "Erin Brockovich" offered Julia Roberts a role which allowed her to fully exploit her acting talent. Incl. review of the film.

Full Frontal

Klawans, Stuart.
"Full Frontal." Nation, September 2-9 2002, Vol. 275 Issue 7, p44-45, 2p
UC users only

Lawrenson, Edward.
"Full Frontal." Sight & Sound, July 2003, Vol. 13 Issue 7, p44-44, 1p
UC users only

Olsen, Mark.
"Full Frontal." Film Comment, July/August 2002, Vol. 38 Issue 4, p71-71, 1p
UC users only

Roth, Elaine
"Black and White Masculinity in Three Steven Soderbergh Films." Genders; 2006, Issue 43, p1-1, 1p

The Girlfriend Experience

Sayeau, Michael.
"This Number is the Nadir of Passion": Steven Soderbergh's "The Girlfriend Experience."" English Language Notes, Spring/Summer2010, Vol. 48 Issue 1, p155-159, 5p
UC users only

The Good German

Fuller, Graham.
"The Good German." Sight & Sound, Mar2007, Vol. 17 Issue 3, p58-60, 2p
UC users only

Kauffmann, Stanley.
"Years Past." New Republic, 1/22/2007, Vol. 236 Issue 4, p20-21, 2p
UC users only

Taubin, Amy.
"Degraded dupes Steven Soderbergh." Sight & Sound, Mar2007, Vol. 17 Issue 3, p26-29, 4p
UC users only

Kafka

Hoffmeister, Donna L.
"Kafka Lite: Woody Allen and Steven Soderbergh on Kafka's Play-ground." Journal of the Kafka Society of America. 17 (2): 13-21. 1993 Dec.

James, Nick.
"Kafka." Sight and Sound 4.n3 (March 1994): 42(2).
"Steven Soderbergh's Kafka has few surprises because it sticks too matter-of-factly to Kafka basics. Soderbergh's restraint, however, can sometimes be quietly effective. Jeremy Irons's portrayal of the writer is the most understated yet seen, and it offers a plausibly realist edge to events." [Art Index]

Kennedy, Harlan.
"Metamorphosis man. (Jeremy Irons)." American Film 16.n10 (Nov-Dec 1991): 28(6).
"Director Steven Soderbergh's Kafka is actor Jeremy Irons's first film since Reversal of Fortune, for which he won an Oscar for his brittle, lordly performance as suspected wife-poisoner Claus von Bulow. Now being filmed in Czechoslovakia, the upcoming movie is neither a biography of Franz Kafka nor an adaptation of one of his works, but it is inspired by Kafka and his writings. Irons discusses his career and his philosophy of acting." [Art Index]

Lyons, Donald
"Lubricating the muse."Film Comment Vol XXVIII nr 1 (Jan-Feb 1992); p 14-16
Examines the treatment of the literary milieu in "Barton Fink", "Kafka" and "Naked lunch".

Werckmeister, O.K.
"Kafka 007." Critical Inquiry 21.n2 (Wntr 1995): 468(495).
Stephen Soderbergh's film 'Kafka' exploits and subverts the tradition of the James Bond movies in the context of Franz Kafka's writings about alienation and the bureaucratic state. The Bond-like adventures of the character of Kafka highlight his own shortcomings and the ultimate futility of his acts. His time bomb replicates the obscurity of recent terrorist attacks, and matches their ultimate failure to attain any discernable objective. Various aspects of the film and of Kafka's writings are explored.

The Limey

Carruthers, Lee.
"Biding Our Time: Rethinking the Familiar in Steven Soderbergh's The Limey." Film Studies, Winter2006, Vol. 9 Issue 0, p9-21, 21p
UC users only

Craske, Bill
"Mementos from Blank Point: Steven Soderbergh's The Limey." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 14, 2001 June

Goss, Brian Michael.
"Steven Soderbergh's The Limey: Implications for the Auteur Theory and Industry Structure." Popular Communication, 2004, Vol. 2 Issue 4, p231-255, 25p
UC users only

Mcaleer, Sean
"Self-Knowledge, Self-Deception, and Retaliation: Lessons from The Limey and The Godfather." Film and Philosophy, vol. 12, pp. 89-104, 2008

Shaw, Deborah.
"You are Alright, But...": Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and Africans in Steven Soderbergh's Traffic. Quarterly Review of Film & Video, Jul-Sep2005, Vol. 22 Issue 3, p211-223, 13p
UC users only

Strick, Philip.
"The Limey." Sight and Sound 10.1 (Jan 2000): 57(1).

Williams, D. E.
"Mad-dog Englishman." American Cinematographer v. 80 no. 11 (November 1999) p. 54-6+
UC users only
"Directed by Steven Soderbergh, The Limey is a vivid piece of pulp fiction with an inventive, nonlinear approach to storytelling and expert cinematography by Edward Lachman. The film tells the story of a British career criminal who travels to Los Angeles to avenge the mysterious death of his daughter. According to Lachman, it has a freewheeling, pick-up-the-camera-and-shoot feel, and about 80 to 90 percent of it was done handheld. He used Moviecam Compacts to shoot the film, generally fitted with his own Series II and III Cooke Speed Panchro primes, which he sees as adding a suitable look to the film's retro style. Adding to the pared-down production approach was an unorthodox narrative style that uses both flashbacks and flashforwards to tell where characters have been and where they might be going. The film's artfully down-and-dirty style of photography also included the careful placement of hot spots and highlights throughout the film to succinctly punctuate the emotional tenor of each scene." [Art Index]

Ocean's 11

Levy, Shawn.
"Nice 'n' easy." Sight and Sound 12.2 (Feb 2002): 14(3).

O'Hehir, Andrew.
"Reviews: Ocean's Eleven." Sight and Sound 12.3 (March 2002): 53(1).
UC users only

Out of Sight

Felperin, Leslie
"The Road Not Taken: Leslie Felperin Talks with Scott Frank about Adapting Elmore Leonard." In: Film/literature/heritage / edited by Ginette Vincendeau. London : British Film Institute, 2001.
Main (Gardner) Stacks PN1995.3 .F54 2001
Pacific Film Archive PN1995.3 .F44 2001

Holmlund, Chris
"Postfeminism from A to G." Cinema Journal, vol. 44, no. 2, pp. 116-21, 2005 Winter
UC users only

Matthews, Peter
"Blind Date: Steven Soderbergh's Adaptation of Out of Sight." In: Film/literature/heritage / edited by Ginette Vincendeau. London : British Film Institute, 2001.
Main (Gardner) Stacks PN1995.3 .F54 2001
Pacific Film Archive PN1995.3 .F44 2001

Sex Lies and Videotape

Cardullo, Bert
"Sexual Politics, European Style and the American Way." Hudson Review, vol. 43, no. 1, pp. 106-14, 1990 Spring

Denzin, Norman K.
"The postmodern sexual order: Sex, lies and yuppie love." Social Science Journal, 1991, Vol. 28 Issue 3, p407, 18p
UC users only

Ferncase, R. K.
"Louisiana story: Sex, lies, and videotape (1989)." In: Outsider features : American independent films of the 1980s / Richard K. Ferncase. Ferncase, Richard K. Westport, Conn. : Greenwood Press, 1996.
Main (Gardner) Stacks PN1993.5.U6 F44 1996 AVAILABLE
Pacific Film Archive PN1993.5.U6 F44 1996

Jacobson, Harlan
"Truth or consequences." Film Comment Vol XXV nr 4 (July-Aug 1989); p 22-24,26-28
Filmmaker S.S. discusses the development of his talent and the production of "sex,lies, and videotape".

Jaehne, Karen
"Sex, lies and videotape." Cineaste Vol XVII nr 3 (1990); p 38-40

Perren, Alisa
"Sex, Lies and Marketing: Miramax and the Development of the Quality Indie Blockbuster." Film Quarterly, Vol. 55, No. 2. (Winter, 2001-2002), pp. 30-39.
UC users only
Traces the history of Miramax, a company that has skillfully marketed independent films, with special focus on "sex, lies and videotape".

Rainer, Peter.
"Sex, Lies and Videotape." American Film 15.n8 (May 1990): 58(1).

Robinson, Sally.
""What Guy Will Do That?" Recodings of masculinity in 'sex, lies, and videotape.'." Genders n21 (Spring 1995 n21): 141(27).
Steven Soderbergh's film 'Sex, lies, and videotape' portrays masculinity and the male body differently than the traditional representations of the male subject. It demystifies the phallus by showing naked the male body and portrays a normal heterosexual relationship. The paper analyses major characters, John, Ann, Cynthia and Graham, and their relationship in terms of heterosexual relationship, fetishism and masculinity.

Seidenberg, Robert.
"Sex, Lies and Videotape. (film)." American Film 14.n6 (April 1989): 76(2).

Semeiks, Jonna G.
"Sex, Lawrence, and Videotape." Journal of Popular Culture, Spring92, Vol. 25 Issue 4, p143-152, 10p
UC users only

"Sex, Lies, and Videotape." Film Quarterly 43.n4 (Summer 1990): 55.

"Sex, Lies, and Videotape." Monthly Film Bulletin 56:668 (1989:Sept.) p.282
UC users only

Shipman, David.
"Sex, Lies and Videotape." Contemporary Review 257.n1494 (July 1990): 46(2).

Soderbergh, Steven
Sex, lies, and videotape / Steven Soderbergh. New York, N.Y. : Perennial Library, c1990.
Main (Gardner) Stacks PN1997.S3818 S63 1990

Templeton, Alice.
"The confessing animal in 'Sex, Lies, and Videotape'.(Critical Essay)." Journal of Film and Video 50.2 (Summer 1998): 15(11).
How Foucault's discussion of confession helps explain how Soderbergh created a film that subtly exploits the pleasure of erotic fascination at the same time it explores the ethics of human relationships.
UC users only

Solaris

Dillon, Steven
"Steven Soderbergh's tinted world." In: The Solaris effect : art & artifice in contemporary American film / Steven Dillon. Austin : University of Texas Press, 2006.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 D47 2006

Filice, Albert.
"Solaris." Philosophy Now, Feb/Mar2010, Issue 77, p46-48, 3p
UC users only

Jordan, Miriam; Haladyn, Julian Jason.
"Simulation, Simulacra and Solaris" Film-Philosophy, 2010, Vol. 14 Issue 1, p253-273, 21p;
UC users only

Morton, Timothy
"Ecologocentrism: Unworking Animals." SubStance: A Review of Theory and Literary Criticism, vol. 37, no. 3 [117], pp. 73-96, 2008
UC users only

Romney, Jonathan.
"Future soul.(preview of film 'Solaris')." Sight and Sound 13.2 (Feb 2003): 14(4).
UC users only

Stoeckel, Justin
"Revisiting Steven Soderbergh's Solaris." Film Journal, vol. 1, no. 7, 2003 Nov

Strick, Philip.
"Solaris.(Reviews)(Movie Review)." Sight and Sound 13.3 (March 2003): 54(2).
UC users only

Taubin, A.
"First Look: 'Solaris' - Steven Soderbergh follow Andrei Tarkovsky into space for a walk with love and death." Film Comment 38 (6): 22-23 NOV-DEC 2002
UC users only
"In Steven Soderbergh's visually refined, metaphysically disturbing movie Solaris, George Clooney stars as Chris Kelvin, a psychotherapist specializing in grief counseling who was himself devastated by his wife's suicide. Still plagued by guilt and feelings of abandonment, Kelvin is sent into space to determine why the occupants of a satellite station studying the possibly sentient planet Solaris are no longer communicating with Earth. Drawing on the narrative of Stanislaw Lem's science fiction novel and Andrei Tarkovsky's 1972 film version, Soderbergh has created a minimalist hybrid that blends the carefully crafted production values of the finest Hollywood studio movies with the rhythms of an Antonioni film." [Art Index]

Verevis, Constantine
"Second chance : remaking Solaris." In: Fear, cultural anxiety, and transformation : horror, science fiction, and fantasy films remade
Edited by Scott A. Lukas and John Marmysz. Lanham, Md. : Lexington Books, c2009.
Main (Gardner) Stacks PN1995.9.H6 F42 2009

Traffic

Banash, D.
"Intoxicating Class: Cocaine at the Multiplex." Postmodern Culture - Volume 12, Number 1, September 2001
UC users only

Beckham II, Jack M.
"Border Policy/Border Cinema: Placing Touch of Evil, The Border, and Traffic in the American Imagination." Journal of Popular Film and Television, vol. 33, no. 3, pp. 130-41, Fall 2005.
UC users only

Carroll, Hamilton.
"Romancing the nation: Family melodrama and the sentimental logics of bourgeois nationalism." Comparative American Studies, Mar2007, Vol. 5 Issue 1, p81-95, 15p
UC users only

Dell'agnese, Elena
"The US/Mexico Border in American Movies: A Political Geography Perspective." Geopolitics Volume 10, Number 2 / Summer 2005
UC users only
"The region surrounding the US Mexico divide is probably one of the most frequently screened landscapes of North America. Since the beginning of commercial cinema, the border has been a leading or secondary character in dozens of movies, ranging from the obvious westerns to the less obvious horror, science fiction and film-noir categories. The connotations given by the American film industry to the cross-border experience both from the south and north connotations, and the meaning of the border that has been assumed to support such interpretations can be considered, from a critical geopolitics? perspective, as popular forms of expression of a geopolitical discourse pertaining to the role and standing of the United States relative to its southern neighbour. In order to detect the frames and assumptions of this popular geopolitical narrative, the author takes into account the scripts and the visual representation of the borderscape of a miscellany of about 30 movies, all produced in North America over a period of 65 years." [Taylor and Francis]

Donapetry, María
"Traffic." Chasqui, Vol. 30, No. 1 (May, 2001), pp. 200-201
UC users only

Gallagher, M.
"Traffic/Traffik: race, globalization, and family in Soderbergh's remake." In: Authorship in film adaptation / edited and with an introduction by Jack Boozer. Austin : University of Texas Press, 2008.
Main (Gardner) Stacks PN1997.85 .A92 2008

Gillespie, Nick.
"The 13th Step.(acclaimed movie 'Traffic' relies on old cliches)(Critical Essay)." Reason 32.10 (March 2001)
UC users only

Henry M, Soderbergh S
"Steven Soderbergh talks about his latest film 'Traffic'." Positif (481): 17-22 MAR 2001 Henry M, Soderbergh S

Larsen, Josh.
"Honest Drugs.(A review of the motion picture 'Traffic')(Review)." The American Enterprise 12.2 (March 2001): 51.
UC users only

Lazare, Daniel.
"Traffic's Sophisticated Propaganda. (Review).(Movie Review)." NACLA Report on the Americas 36.2 (Sept-Oct 2002): 55(2).
UC users only

Massing, Michael.
"The Reel Drug War.(Review)." The Nation 272.5 (Feb 5, 2001):

Monet, Christina.
"Traffic.(motion picture)(Review)." TLS. Times Literary Supplement 5106 (Feb 9, 2001): 19(1).

O'Hehir, Andrew.
"Traffic.(Review)." Sight and Sound 11.2 (Feb 2001): 53(2).

Porton, R. Traffic. Cineaste v. 26 no. 3 (Summer 2001) p. 41-3
UC users only
"A review of Traffic, directed by Steven Soderbergh. Preoccupied mainly with how drugs have spoiled the American family nest, this thriller charts the trajectory of cocaine from Mexican drug cartels to suburban Midwestern living rooms. Right-wing denunciations of the film have made it seem like a radical, or at least a liberal, manifesto, but a closer look unveils a more conventional form of cinema rhetoric weighed down by anemic political assumptions and generic formulas. The screenplay's apparent sophistication quickly evaporates if any of the three intersecting narrative strands is scrutinized more closely. The film also demonizes the Mexican underworld, and sidesteps the long history of collaboration between members of the elite in Central America and the American CIA. It is hard not to view this over-hyped and frequently boring film as a missed opportunity, one that might honestly have explored the devastation of American drug policy without resorting to political obfuscation or rusty generic contrivances." [Art Index]

Rosen, Gary
"'Traffic' and the War on Drugs." Commentary, vol. 111, no. 4, pp. 45-48, Spring 2001.
UC users only

Roth, Elaine
"Black and White Masculinity in Three Steven Soderbergh Films." Genders Issue 43 2006
UC users only

Shaw, Deborah
"'You Are Alright, But...': Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic." Quarterly Review of Film and Video, vol. 22, no. 3, pp. 211-24, Summer 2005.
UC users only
"The writer examines the vision of individual and collective ethnic and national groups in Steven Soderbergh's 2000 film Traffic. She explores the degree to which the representations in the film succeed in challenging traditional Hollywood depictions of Mexico and of US Latinos. She considers how representations of Mexicans and Latinos shed light on contemporary discourses of Mexico and ethnic groups in the United States. She also discusses the images in Traffic of African-Americans and Anglo-Americans and their relationship with the Mexicans and Latinos. She finds that the representations of the Latino and Mexican characters are generally less simplistic that those in many previous films, yet there are still negative representations, which she argues can be related to US foreign policy." [Art Index]

Smith, Gavin
"Hired Gun." Film Comment, vol. 37, no. 1, pp. 26-31, Winter 2001.
Interview with Steven Soderbergh, who discusses "Traffic" and assesses his past films.

Thies, Sebastian
"Crystal Frontiers: Ethnicity, Filmic Space, and Diasporic Optic in Traffic, Crash, and Babel." In: E pluribus unum? : contemporary and historical perspectives on immigrant political incorporation / Gary Gerstle and John Mollenkopf, editors. New York : Russell Sage Foundation, c2001.
Main (Gardner) Stacks JV6450 .P58 2001 >
Comparative Ethnic Studies JV6450 .P58 2001
Institute of Governmental Studies 2005 0194

Wood, Andrew G.
"How Would You Like an El Camino? U. S. Perceptions of Mexico in Two Recent Hollywood Films." Journal of the Southwest, vol. 43, no. 4, pp. 755-64, Winter 2001.
UC users only


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