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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The film's story evokes in the American viewer a feeling of danger about a
woman and her image. This feeling of danger comes less from Mariyam's
represented experience and more from the American viewer's own concept of
what it means ...
LF, also an Iranian-American, likewise thought the murder did not make sense in
relation to her own cultural ... American viewers, and particularly women viewers,
also thought the destruction of the dress was a compelling symbolic act.
For the American viewer, the veil's power in The Suitors lies in what it
symbolically allows a viewer to perceive about a woman and her image. The
Suitors takes the general notion of the Iranian veil as expressive of value and
gives it a very ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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