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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camera values Mariyam's movement and gives it more significance in relation to
the camera.33 Within the frame, because Mariyam is photographed in motion, the
angle of the shot vis-a-vis Mariyam is always changing, in effect a succession of ...
As she moves across the screen, her image interacts with the other elements of
design in the frame, setting everything in motion as she herself moves. This does
not mean that Mariyam blends into the frame. She is a striking figure in every ...
... the focus and the deployment of light and shadow, are part of what is depicted
and cannot be separated out from the perception of the object photographed. As
well, every photograph has a fixed frame, whose interpretive power is important.
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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