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.
Results 1-3 of 14
Reza. The only Iranian man who gains Mariyam's confidence is also the only one
who does not behave in a traditional way. As JD put it, "Reza is really the only
one who doesn't push her to come to him for guidance, protection, domination, ...
Reza is the only other character of significance, and he becomes tangential. The
sequence begins with Reza and Mariyam driving away from the country house in
darkness. At dawn, when they arrive at an airport to buy tickets to Europe, the ...
Reza has unzipped the suitcase/the screen, and his hand is holding the parted
suitcase open. DS described her intense reaction to this scene: The biggest
scene for me was when she curled up inside that suitcase and after he had
What people are saying - Write a review
The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
17 other sections not shown