Abstract
Abstract The article shows the way must-see film lists hosted by financial publications positivize, after the 2008 crisis, the message of feature and documentary films representing finance. Here positivization refers to the detouring or softening of the critical edge of the message of a film in the interests of the hosting website and the profession of finance in general. Emphasis falls on financial literacy and on a film’s artistic prestige and entertainment potential. The author argues that positivization is a semantic strategy indicative of a neoliberal business ontology that informs the interpretation of cultural artifacts. It instrumentalizes signification processes in order to foreground exchange value and present film reception as an investment in human capital.
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