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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(Though he also used a grammatical example from a textbook, this example did
not carry the same weight in his argument, and almost all the examples from his
meditations are images.) By - borrowing from linguistics to describe the capitalist
Capitalism, Contemporary Film, and Women Ann Kibbey. This idea is not as
unfamiliar as it may seem in its abstract definition. Take this example from
ordinary life: A pie chart of a monthly budget is a diagram that visually expresses
the ratios, ...
Identity was worn on the material surfaces of the body, on what could be
photographed. The value of the photograph as a paradigmatic example for
Peirce was its capacity to serve as an objective correlative of the indexical
process of thinking.
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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