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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Eisenstein's theory of montage, understood in this way, serves as a point of
departure for an analysis of Before the Rain in terms of Manchevski's own
description of his work as cubist narrative. A film that is cubist looks nothing like a
"Cubist," as Manchevski has called it, is indeed a more suitable description of the
film.59 Linear Narrative, Cubist Narrative Thomas Woodard, a believer in linear
narrative, has written of his sense of fascination and disillusionment in viewing ...
While its colliding juxtapositions are similar to Eisenstein's iconic theory,
Manchevski enters into new cinematic territory with his concept of
cinematography as cubist narrative, a "new imaginative register," as the director
of the Slovene ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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