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 limitation also informed the development of post-structuralist film theory from
the 1960s to the 1980s. This era of film theory was fueled by an iconoclastic
assault on the false images of Hollywood film, from the theorists of the cinematic ...
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. As Jean- Joseph
Goux explained in "Lacan Iconoclast," Freudian psychoanalysis was already
Albany: State University of New York Press, 1998. Doane, Mary Ann. Femmes
Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991. . "
Film and the Masquerade: Theorizing the Female Spectator." In John Caughie et
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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