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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And aesthetic stuff like the camera moving with a person — it would have
interfered with the actual stuff. You don't want it moving down the stairs with her.
When she comes down the stairs, the camera is at the bottom of the stairs. The
camera values Mariyam's movement and gives it more significance in relation to
the camera.33 Within the frame, because Mariyam is photographed in motion, the
angle of the shot vis-a-vis Mariyam is always changing, in effect a succession of ...
As she repeats the phrase, the camera leaves her face and starts moving again.
Starting to retrace its long panning shot, it comes across a boy in a plaid shirt with
a small camera — who aims it directly at the film's camera and snaps a photo.
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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