The cinematic mode of production: Attention economy and the society of the spectacle, 2006. ,
, The Derivative Condition, 2018.
The message is murder: Substrates of computational capital, 2018. ,
Platform Communism: A Program for Derivative Living Against Regimes of Informatic Subsumption, p.19, 2018. ,
Querelle des dispositifs: Cinéma -installations, expositions, P.O.L., 2012. Beugnet, M. L'Attrait du flou. Crisnée: Yellow Now, 2017. ,
Global Imbalances and the Financial Crisis: Link or No Link?, 2011. ,
, Relational aesthetics, translated by S. Pleasance and F. Woods. Dijon: Les Presses du réel, 2002.
Adapting the Fountainhead to Film, Essays on Ayn Rand's The Fountainhead, 2007. ,
Goddess of the market: Ayn Rand and the american right, 2009. ,
, Cahiers du Cinéma, 1981.
Cinéma 1: L'Image-mouvement, Les Éditions de Minuit, 1983. ,
Cinéma 2: L'Image-temps, Les Éditions de Minuit, 1985. ,
Interview with Jonathan Beller -The Derivative Image: Historical Implications of the Computational Mode of Production, Cinema: Journal of Philosophy and the Moving Image, vol.10, pp.151-164, 2018. ,
De l'individu créateur à la droite américaine, Communications, vol.78, pp.245-268, 2005. ,
Interview with the author, 2017. ,
Options, futures, and other derivatives, 2015. ,
Film and the financial city, Studies in European Cinema, vol.14, pp.7-21, 2017. ,
Capitalizing on crisis: The political origins of the rise of finance, 2011. ,
The man who knew: The life & times of Alan Greenspan, 2016. ,
Narrating the global financial crisis: Urban imaginaries and the politics of myth, 2017. ,
Trespassing Hollywood: Property, Space, and the "Appropriation Film, pp.132-148, 2015. ,
, icône, économie: Les Sources byzantines de l'imaginaire contemporain, 1996.
Crisnée: Yellow Now, 2009. ,
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, See Société Réaliste, 2011.
, , 2011.
, Trémeau, p.11, 2002.
, Trémeau, 2011.
, Société Réaliste, p.26, 2011.
, Key Randian positions are given in Rand, 1961.
, On Rand's early love of cinema and her time in Hollywood, see Burns, pp.20-29, 2007.
, On the film's reception, see Moullet, pp.97-103, 2009.
, Burns, 2005.
, For Greenspan's relationship with Rand, see Mallaby, pp.64-75, 2016.
, For this history, see Krippner, 2011.
, Vogl, 2015.
, For the history of the crisis, see Tooze, 2018.
, Mallaby, pp.648-671, 2016.
, Société Réaliste, p.137, 2011.
, Szendy will curate an exhibition based on this book at Jeu de Paume -appropriately, the same gallery which exhibited The Fountainhead, 2020.
, This line comes in Deleuze's discussion of 'crystals of time', where he argues that money is bound up in cinema's relation with conspiracy and with the time-image, p.104, 1985.
, Szendy, p.3, 2014.
, All translations from this text are my own, p.35, 2017.
, Szendy is here drawing on Robert Bresson's notion that images in cinema have no value in and of themselves, but rather in relation to each other (ibid, vol.36, p.35
, Szendy is also thinking of the famous letter to Serge Daney, in which Deleuze says the world is becoming cinema. See Daney, See Szendy, p.20, 1983.
, Szendy is here playing on the French for 'surplus value' (la plus-value), p.121
, See Beller, pp.73-98, 2006.
, Szendy directs us to the classic study Mondzain, 1996.
A version of this talk is given in Szendy 2018, though it does not deal with cinema ,
, Thus the play on 'coupure' as both a banknote and a cut in montage. See Szendy, p.130, 2017.
, Szendy comes close to this idea when he discusses marketing and merchandising in terms of 'derivative products, Beller 2018c, pp.125-129, 2017.
, Szendy differentiates his position from that of Beller 2006 in a footnote, p.120, 2017.
, for Beller there is a natural state of creative energy that was colonised by capital. Szendy associates the idea of a pure, preeconomic seeing with Jean-Luc Godard, p.14
The resulting political question for Beller is whether it is possible to create a more democratic or even a 'communist derivative'. To this end, he suggests we examine alternative financial technologies like blockchain in the hope that they might lead to a 'democratization of financial tools and a decolonization of finance', thus creating the conditions for expression that is not based on value extraction and accumulation. See Beller, p.173, 2018. ,
Gróf 2017 indicates that the more proximate reference during the making of the film was the situationist film Can Dialectics Break Bricks?, 1973. ,
, For Szendy, pure exchange is a fiction: in a duel someone must always fire first, so there is always a delay and thus 'there is no exchange, only credit or debt, p.61, 2017.
, For Beller, spectatorship and screen-based interactions in general are a kind of work that creates value for capital; hence, 'to look is to labor, pp.158-174, 2006.
, Spectatorial experience is here close to the experience of crisis as one of 'detemporalisation' (Revault D'Allonnes, pp.13-14, 2012.
, Streeck 2017, pp.6-10
, This graph, p.163, 2011.
, , pp.202-219
, On the spectatorship of the installation visitor, see Bellour, 2012.
, Beugnet, p.27, 2017.
, Compare Szendy's discussion of definition and the 'obscure transactions' taking place below the surface of the image, Steyerl, pp.160-170, 2009.
, Szendy 2017b, pp.134-135
, The French haut débit carries the sense of high-speed broadband, p.73, 2017.
, Streeck, 2017.