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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A young priest, Kiril (Gregoire Colin), is picking tomatoes in a hilltop garden. As
storm clouds gather, an elderly priest approaches and tells Kiril, "It's going to rain.
The flies are biting" — an indexical truism of rural Macedonian life. The old priest
For example, when Zamira and Kiril are suddenly surrounded on the
mountaintop by men from Zamira's family and village, the Albanian men
denounce Kiril as "Christian scum." The viewer fears for Kiril's life because the
logic of ethnic conflict ...
She has few lines of dialogue in the film, but this is hardly noticed in the first story
because Kiril's vow of silence — until he breaks it — gives him even fewer lines.
Zamira is herself a juxtaposition of modern and traditional ideas about women, ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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