Calum Watt is a European Project Officer at Université Paris Nanterre and an Associate Researcher at the Institut de recherche sur le cinéma et l’audiovisuel (IRCAV) at the Sorbonne Nouvelle. At IRCAV he was a Marie Skłodowska-Curie Fellow from 2016 to 2018, researching French culture and the 2008 financial crisis.

• AcknowledgementsIntroduction: The 2008 Financial Crisis, Film and Literature1. D’un retournement l’autre: Lordon and the 2008 Crisis2. The Saints of the Crisis: Larnaudie and Stiegler in the Oversight Committee Room3. The Derivative in Film and Literary Theory4. Trading in Images: The Case of Kerviel5. Derivative Films: The Fountainhead, Film Socialisme, Film Catastrophe6. Dreaming Futures: Argent, Rêver sous le capitalisme, L’Époque, EscaparatesConclusion: Ambivalences of the DerivativeSelect BibliographySelect Filmography

If finance has become the interdisciplinary object above all others, then Calum Watt’s splendidly original book offers the reader an exemplary route through the points at which financial derivatives and artistic creation meet. Derivative images - in film, literature, theatre, and philosophy - allow us to reimagine effectively our post-crash world.

Calum Watt is a European Project Officer at Université Paris Nanterre and an Associate Researcher at the Institut de recherche sur le cinéma et l’audiovisuel (IRCAV) at the Sorbonne Nouvelle. At IRCAV he was a Marie Skłodowska-Curie Fellow from 2016 to 2018, researching French culture and the 2008 financial crisis.

• AcknowledgementsIntroduction: The 2008 Financial Crisis, Film and Literature1. D’un retournement l’autre: Lordon and the 2008 Crisis2. The Saints of the Crisis: Larnaudie and Stiegler in the Oversight Committee Room3. The Derivative in Film and Literary Theory4. Trading in Images: The Case of Kerviel5. Derivative Films: The Fountainhead, Film Socialisme, Film Catastrophe6. Dreaming Futures: Argent, Rêver sous le capitalisme, L’Époque, EscaparatesConclusion: Ambivalences of the DerivativeSelect BibliographySelect Filmography

If finance has become the interdisciplinary object above all others, then Calum Watt’s splendidly original book offers the reader an exemplary route through the points at which financial derivatives and artistic creation meet. Derivative images - in film, literature, theatre, and philosophy - allow us to reimagine effectively our post-crash world.

Calum Watt is a European Project Officer at Université Paris Nanterre and an Associate Researcher at the Institut de recherche sur le cinéma et l’audiovisuel (IRCAV) at the Sorbonne Nouvelle. At IRCAV he was a Marie Skłodowska-Curie Fellow from 2016 to 2018, researching French culture and the 2008 financial crisis.

• AcknowledgementsIntroduction: The 2008 Financial Crisis, Film and Literature1. D’un retournement l’autre: Lordon and the 2008 Crisis2. The Saints of the Crisis: Larnaudie and Stiegler in the Oversight Committee Room3. The Derivative in Film and Literary Theory4. Trading in Images: The Case of Kerviel5. Derivative Films: The Fountainhead, Film Socialisme, Film Catastrophe6. Dreaming Futures: Argent, Rêver sous le capitalisme, L’Époque, EscaparatesConclusion: Ambivalences of the DerivativeSelect BibliographySelect Filmography

If finance has become the interdisciplinary object above all others, then Calum Watt’s splendidly original book offers the reader an exemplary route through the points at which financial derivatives and artistic creation meet. Derivative images - in film, literature, theatre, and philosophy - allow us to reimagine effectively our post-crash world.