Abstract

In this chapter, Nesselhauf analyses how films not only adopt a theory with regard to content but also, on a second level, how aesthetics and the narration of a film are based on a theory, or rather, how the ‘cinematic language’ correlates with the theoretical basis. After a general introduction to film narration, this interplay is outlined using the example of politico-economic theories in Adam McKay’s The Big Short, a movie about the key events and figures of the US housing bubble of the early 2000s, resulting in the recent worldwide financial crisis.