Capital and the narrative cinema: interpreting one or the other or one via the other requires a concept of formal totality, but a totality that’s multiple, differential, subject to change.Thus, to formulate a method that captures such a singular-plural becoming, this thesis recommends a commingling of approaches, a heuristic cohering of two thinkers of (post)modern totality, Fredric Jameson and Gilles Deleuze—a task accomplished in three chapters. The first argues that Jameson’s modal periodization of capital’s nonsynchronous logics parallels Deleuze’s cinematic “images of thought” given their kindred allegorical structures. The next chapter models a method of cognitive mapping—via an analysis of Point Blank (1967)—that harmonizes Jameson’s key cartographic tools: the semiotic square and the four-level allegorical frame. Finally, chapter three folds in Deleuze, pointing up the movement-image’s aesthetic internalization of the stages of commodity production and the time-image’s formal circulation of both financial and utopian temporalities.