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 Suitors Some recent films critique the assumptions of American iconoclasm
and offer significantly different ways to think about the image of a woman. One of
the most important and effective of these films is The Suitors. Produced in New ...
Viewing the images that compose The Suitors is a very different experience from
this Godard scene because the realism of The Suitors works in conjunction with,
not in contradiction to, the formal dynamics of the frame. Viewers' comments ...
Stabbing the bridegroom and successfully escaping victimage are evocative of
the female heroine of American slasher films, a genre that experienced rapid
development in the decade prior to the making of The Suitors. Like most slasher
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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