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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In effect, Mulvey made this claim with her idea of "the woman as icon," the crux of
the essay (29).47 "An idea of woman stands as linchpin to the system," she said,
meaning both the psychoanalytic system and the Hollywood narrative system ...
Eisenstein shared with Peirce the idea that iconic thinking was first and foremost
about a set of relations. In Eisenstein's theory of the image in cinema, the basic
unit of cinematography is montage, not the material photographic image per se.
They yield undepicted concepts, abstract ideas initially generated by perceived
images but distinguishable from them. Resorting to a mathematical concept, as
Peirce had, Eisenstein explained that the combination of images that constitute
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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