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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Resorting to a mathematical concept, as Peirce had, Eisenstein explained that
the combination of images that constitute an ideogram "is to be regarded not as
their sum, but as their product, i.e., as a value of another dimension, another
To take an iconic view of the photograph, to understand it in terms of Eisenstein's
iconic theory of the visual image — this yields a very different idea of what a
photograph is, namely that there is no such thing as an objective photograph, ...
He quotes this passage in the context of discussing Eisenstein's first theatrical
production, in 1923. As early as 1924 Eisenstein was putting distance between
cinema and theater with regard to how montage needed to be conceptualized.
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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