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    1. Steven Soderbergh

      http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwdV1LSwMxEB5s8eBFfFKf7MFrbHfzhlKQ0qV4sxbEU2mSCVtQkEX_v5PNil48hpAJmYR8M5OZfAB3zlinTdAs8koz4Qwyy2PJpPYi6OC07uIdL-bxtXpamXr-m0SzC_fYpnKE7hE_FaKlxpg8OF1u_QAGyqSju1ysfq5boSc5kEJCaZpE176fR_3BifoIDnsDr3jIO3IMe7E9gWG9e3s_hdG0mWUaseI5cZCl3KpmOm5mZ7CuF-v5kvXUBAzJxGCKnIDgq-irUKJEdMJZcgyCdFZg6WSpozSEDVsVyVzhGifKoqxiUDxGFI6PoLCJDMokuOdc8Mid8ehJALkYBLlcXMB5XsfmI_87sem1cPlfxxUcEJzbnCF1DcPP9gtvMsnBbaezb18daqw

      by Cayer, Ariel Esteban

      24 Images, Issue 190, pp. 58 - 63

      Journal Article : Full Text Online

    2. The performance of labor and downward mobility in Steven Soderbergh's recession trilogy (...)

      http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV1LT9wwELYqTlzKq1IpD82hElQiy8aPxKkQEkIEVMGhLQhxiuLY1kYsD-0uB_5MfyszdlK6B9QDl0g5jJ3Y4_HM-PM3jH01ujC5tnniBc8TabRLCuHTROWNtLk1eR7yHdf6xw3_-UuXxx2acNrBKimG9pEoIthqWty1mfaIuH10osMJHkZ3XA64QPuaEek2hTao0Zfl-d-Qq0hDMXmSSEikv8PzVitzu9Mcd-m8rebdBlQusXH_6QF9PYjok5iHmINl9_yO7_rLZfaxc1ThKGrWCvvg7lfZQtmO79bYH1QueHy9cgAPHoI2AfYGFgN7wuLC3UNA3j5Dew8Ho8NYQA1-U_U1QpWNdqYH-6NDQJsbyUFgNmkpyQ-74TAFnQb-7TtQX6ftZOyJkdnCKzfzHpzVz0S1vBe6vajRiMNFe-s-savy5PL4LOkKPSQN19kswagmkyZVzqeN1oXnwmnDceNUNXoYPnNc1cMmk15Kpaxyemjyxho71EZZoVLxmUFBtbU0eU9CSOGF0Y1rlCkwYkMPRsh1NuhntnqMRB5V2vGj9kNd0VBX3VCvs-Lf-a9mIYPiY7mTSvxHdrNXlqqzCShCJO28QP_0yzua3mCL9BrAQ3yTLcwmT24rVrLYJqiCxmd5Xm6HdfACPIAAng

      by Tait, Richard Colin

      New Review Of Film And Television Studies, Volume 22, Issue 2, pp. 532 - 555

      Journal Article : Full Text Online

      View Article PDF

    3. Post-Anthropocentric Futures: Rootlessness and Liquid Identities in George Miller's Mad Max: (...)

      http://duke.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV3PS-UwEA7iaS-77rqwrq7kIHgxb9ukbRoRQcQiiwq6LsueSvOLV3g-9fU90P_KP9GZpBXfwb14CIWWJG06nZlMv5mPkB1dKi1LK5kXXLJMl44p4VOWS5NZabWUId7xt_z1j19eldVxjybselgl7qF9LBQRdDV-3I3uBkQcHMHK8QSBWVyMwH_IpcR0X9zagERfV2cvuhiBPeF_Z54w7DLk8Lw1ypJ1WqpdGktIBatTfSKT4X4D5HoUIScx-LCExR6KOr7r0dbIx947pUdRnD6TFTf9QlardnKzTp6Q15cNxAoB1NkaWoWaJN0-vbq9BbEDjQKNwvz0rL1ftJb2mcCwIaftlMYQPI0ZiLsdPW8stId9GGf2CGM0do8ejA8j1xr9jURtCEAb73YHP8eHcGKCpIl7YYJXdRHoBVyYwnghwNlhZkwz-0r-VCfXx6es53tgJpVizozJC51bbr2WXBjVmKQpQOM4XYjUc63AsBbe5D613BdGZU6mVjgvE-2cyhLxjVCFFFslOlFCZMILXRpncq1g4waOjMg2yGh4wfVdrOdRp32Z1GHxa1z8ul_8DaJei0E9D4EUH1lPavHfvt_f0XeTfOBINYyR5GyLrM5nC_cjMlZsBxl_BoRP-2A

      by Nandi, Arindam

      Quarterly Review Of Film And Video, Volume 42, Issue 5, pp. 1369 - 1396

      Journal Article : Full Text Online

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