The Big Short 's Incoherence, Documentary Aesthetics, and Use of Direct Address
Bibliographic Data
| ID | 10193306 |
|---|---|
| Authors | Wickham Clayton (0000-0002-0441-4572, corresponding author) |
| Year | 2022 |
| Volume | 55 |
| Issue | 5 |
| Pages | 1037-1061 |
| Publication date | 2022-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The Journal of Popular Culture (JOURNAL) |
| Journal identifiers | ISSN: 0022-3840 • E-ISSN: 1540-5931 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/jpcu.13105 |
| OpenAlex | W4310679761 |
| Language | EN |
| Citations received | 2 |
| References cited | 7 |
world the importance of a credit default swap on a double-A tranche of a subprime-backed collateralized debt obligation" (Lewis 222-3)? This question, asked by author Michael Lewis through the eyes of one of his subjects -Ben Hockettappears to have an answer: with great difficulty. Lewis's book, The Big Short: Inside the Doomsday Machine, lays out the internal workings of the investment side of the mortgage crisis of 2007-8 which was instrumental to the global economic recession, and is riddled with deeply complex details necessary to telling the story. Even Lewis acknowledges this, yet takes great pains to attempt to make his book accessible. "Dear Reader: If you have followed the story this far, you deserve not only a gold star but an answer to a complicated question [. . .]," (77) he writes in one of the book's footnotes
Aesthetics · Art · Art History and Market Analysis · Cinema and Media Studies · Shakespeare, Adaptation, and Literary Criticism
| Citations per year | 1 |
|---|---|
| Citation span | 2024 - 2025 (2) |
| Highly cited | No |