There has been an increasing interest in financial markets across sociology, history, anthropology, cultural studies, and related disciplines over the past decades, with particular intensity since the 2007-2008 crisis which prompted new analyses of the workings of financial markets and how "scandals of Wall Street" might have huge societal ramifications. The sociologically inclined landscape of finance studies is characterized by different more or less wellestablished homogeneous camps, with more micro-empirical, social studies of finance approaches on the one end of the spectrum and more theoretical, often neo-Marxist approaches, on the other.Yet alternative approaches are also gaining traction, including work that emphasizes the cultural homologies and interconnections with finance as well as work that, more broadly, is both empirically rigorous and theoretically ambitious. Importantly, across these various approaches to finance, a growing body of literature is taking shape which engages finance in a critical manner.The term "critical finance studies" nonetheless remains largely unfocused and undefined. Against this backdrop, the key rationales of The Routledge Handbook of Critical Finance Studies are firstly to provide a coherent notion of this emergent field and secondly to demonstrate its analytical usefulness across a wide range of central aspects of contemporary finance.As such, the volume will offer a comprehensive guide to students and academics on the field of Finance and Critical Finance Studies, Heterodox Economics, Accounting, and related Management disciplines.

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This section collects a series of short reflections on the life, camaraderie, and scholarship of Randy Martin, a longtime member of the Social Text editorial collective. In place of definitive, authoritative analyses of Martin's work, these pieces present a montage of personal snapshots by people that collaborated, moved, thought, wrote, edited, and learned with him.

This article uses the popular film The Artist to interrogate the ways cultural products shape narratives about finance and the new ways subjects are positioned in relation to the global circulation of capital. The article argues that a stubborn view of labor as a site par excellence for the production of value is presented in the narrative of The Artist, misrecognizing and misinterpreting the ways finance intensely recalibrates value production. As a silent film, the spoken voice appears to be absent, in much the same way that finance appeared silent throughout the history of capitalism. In the wake of the 2008 financial crisis, it appeared as if finance's voice had finally spoken, just as the introduction of sound technology gave the appearance of an embodied, laboring voice. As the voice and finance were both always present throughout, the article attempts to locate the consequences for such misrecognitions in history, critiquing the kinds of restorative nostalgia that come to dominate political responses to capital's volatilities.