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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They sought the extinction of the image altogether, and they sought it with the
hammer of language. It is more than ironic that film theory in the late twentieth
century was most beholden to the theory that was the most hostile to the image.
Contemporary films, and especially transnational films, require a critical
approach that can articulate what it means to think iconically, rather than
indexically, about the film image. Before the Rain: An Iconic Film A European co-
In this film, many more perspectives are in play, and moreover, they stay that way.
There is no definitive conclusion to this film, no single character who finally
figures it out. The viewer's perception of the film's images becomes a complex ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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