My dissertation work aims at disclosing the intertwined and shared characteristics of film and money. I will examine how money is represented primarily, but not exclusively in American cinema and highlighting periods of financial crises, for example in 1929 and 2008. The historical strand is contextualized by an in-depth analysis of studio politics. The investigative point of departure is the thesis that film is money. Money defined as debt over time (with interest) opens the possibility for an analysis of industrial film as a capital intensive, financial instrument. The multifaceted relations between creditors and debtors that forge the money form, indeed structures the visual spectrum as well. Film, I will argue, is a visual credit relation.