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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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 ...
In the way Zamira's story is told, the film is sympathetic to her, expressing that
sympathy by juxtaposing her as an individual with the assumptions made about
her. For example, the film calls attention to her own reserve with Kiril in contrast to
Since the first story ends with Zamira's death, when she appears in the third story
very much alive, the viewer suddenly reconceives this third story as a flashback.
Her death is yet to come. Zamira reappears again for a much longer time when ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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