Though Mark Gallagher has indeed set his sights on Steven Soderbergh for his second, solo-authored film studies monograph (the first being 2006’s excellent Action Figures: Men, Action Films, and Contemporary Action Narratives), it’s the book’s subtitle that reveals his true, and more compelling, interests: authorship and contemporary hollywood. In fact, a work like Another Steven Soderbergh Experience could arguably not have been written even just a decade ago (or would have been received with maximal skepticism), given that cinephilia still existed in a pre-Hulu state, not yet having seen the fruits of the Criterion Collection’s labor, where the complete oeuvre of Keisuke Kinoshita can now be seen in essentially the same place as Kristen Wiig’s return to Saturday Night Live. What’s at stake, it seems, is exactly how one discusses cinema (not movies, to use Soderbergh’s recent distinction) in a complex, thoughtful manner that would necessarily take into account both the modes of production and viewership prevalent in the 21st century, and not simply under the banner of a director’s intent or other films.
Skeptics may refuse to alter their methodological means—that being a purely auteurist line of critical inquiry. However, Paul Schrader has recently stated that even he, at 66 years old, has had his brain rewired by digital technology, to the extent that he finds it “harder and harder to sit for two hours straight. Even in a theater,” and goes on to claim that “the concept of movies itself is pretty much becoming a 20th-century concept.” Schrader’s words offer a nice segue into Gallagher’s, who states near the beginning of his book: “Soderbergh’s work illuminates many trends in industry practice, media authorship, technologies of film and television production and distribution, and motion-picture aesthetics.” Soderbergh’s intermediary status here affirms the very struggle of defining how to place a filmmaker-as-author now, especially one as prolific, in both output and medium vacillation. Gallagher’s intent is less to embark upon another attempt at auteur baiting (as the title ironically suggests), than casting Soderbergh as his fishing lure to demonstrate how he “complicates our recognition of authoring figures’ positions within global circulation networks.” Although Gallagher engages textual analysis in brief (more as evidentiary support than an end), the bulk of the book’s focus is in exploring alternative methods for understanding precisely what a screen author does in contemporary Hollywood.