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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Persian Narrative Structure and Activating the Audience Reflective of the writer-
director's Iranian background. The Suitors derives its basic narrative structure
from the conventions of Persian literature, drawing on the Persian literary
The audience also hears her writing — the sounds of the pen scratches on paper.
After a few sentences, the scene cuts away to (5) Mariyam on an earlier day,
veiled and walking briskly down a crowded city street, the wind blowing the veil ...
By the fourth it was getting hysterical throughout the whole audience because it
was the same thing. It's just reacting to one particular situation that kept getting
translated into these different forms. You get up, put the veil on, bring out the
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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