(Loach 2016), as well as the horror movies – Drag Me to Hell (Raimi 2009), Dream Home (Pang 2010), Mother's Day (Bousman 2010) and Crawlspace (Stolberg 2013) – discussed in Dead Pledges , Annie McClanahan's incisive account of representations and mediations of the collapse of subprime mortgages, a symptom and trigger, often mistaken for the cause, of the systemic crisis [ Dead Pledges: Debt, Crisis, and Twenty-First Century Culture (Palo Alto, CA: Stanford University Press, 2017]. For journalistic accounts of the financial collapse, see Michael Lewis, The
Álex de la Iglesia, Icíar Bollaín, Gracia Querejeta etc.
in order to promote a new, young, more commercially oriented, popular
auteur cinema (Stone 2007 : 36–7). On the
strength of Tesis Amenábar quickly became a new
‘fichaje’ (signing) to the Sogecine stable of young auteurs.
Unfortunately, in September 2007, owing to a debtcrisis arising from