Theory of the Image: Capitalism, Contemporary Film, and Women
"Just about everything in this book is fresh and exciting." —Carol Siegel
Ann Kibbey’s Theory of the Image is based on a concept of the image as a dynamic relation rather than a thing. In three essays Kibbey contends that the image itself is an ideological construct. "The Capitalist Theory of the Image" argues that capitalism enforces social identity and fetishism through religious iconoclastic beliefs about the commodity as image. "Liberating a Woman from Her Image" creates a new feminist approach to women in film, breaking the symbiosis of woman and image at the heart of previous theory. "Relief from the Production of Certainties" challenges conservative and racist agendas informing the assumption that a photograph records an image. The book draws on extensive personal interviews and also provides detailed explications of important films in recent transnational cinema to demonstrate new theories of the image for a global society.
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When her mother and Aleks collide on a London street, her carefully
compartmentalized life begins to unravel. Her mother finds out about her affair
and conveys her disapproval. Anne turns to Aleks, who convinces her to take a
taxi ride with ...
Those victims are not just people who threaten the viability of these cultural
boundaries, like Aleks and Zamira. The victims include Nick, a white male
English conservative who wants to go back to Oxford, who wants a stay-at-home
wife, who ...
Many other characters from the first story have reappeared in the third, but none
of the other characters has the same effect on the viewer — because none of
them died in the first story. At the end of the third story when Aleks is shot, he tells
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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