My dissertation aims at disclosing the intertwined and shared characteristics of film and money. Money defined as the denomination of the temporal relation of credit to debt affords a unique vantage point from which filmic perception can be conceptualized in economic terms.
The investigative point of departure is the thesis that film is money.
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.