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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Carol Clover has described the American slasher genre as a particular kind of
horror film that features a female heroine, the "Final Girl," who successfully turns
on her male aggressor in violent triumph, reversing a progression of victimage by
Attaining a sacrosanct subjectivity, the iconoclastic wrath of the Final Girl is
enacted in the violent destruction of the psychopathic killer, whose image of
authoritativeness in the plot she proves to be false.43 However, this is not a
triumph for ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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