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 transposition of Calvinism and capitalism was possible because of the
equivalence between the commodity and the sacramental object. Calvin
emphasized the use value of the objects of the sacrament, and he meant that in
the same way ...
More sure of its Marxism, Debord's essay also focused more clearly on the reign
of the visual in commodity capitalism. Debord did not, as Barthes had, avoid the
image-ness of the image. Debord's book was about "image- objects" in contrast
paramount, or how exactly the transposition from industrial commodity to
commodity-image occurred. Debord's critique of capitalism was noticeably
missing one thing: He failed to articulate a theory of how the image was produced
, even ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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