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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This not only emphasizes the significance of Mariyam's movements, encouraging
a semiotic reading of them. It also emphasizes her difference from the camera
itself. She is another human being, different from the person whose perspective is
As these scenes emphasize, it is a practice enacted by a woman, but evoked by
the presence of any man who is not her relative. Although Mariyam seems to
control the veil, in fact it is men who, by their presence or absence, control its use.
Ironically, as indexical certainty is posited by the viewer who wishes to see it, the
social incompleteness of what is depicted in the documentary photograph is
emphasized. The second story strongly emphasizes the contrast between the ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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