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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It's just a killing, a senseless, gratuitous killing. Although viewers experienced
different degrees of anguish, they found the killing repulsive, not only a sacrifice
gone wrong, but an act that was morally wrong in itself. Not a sacrifice, just a
like Mariyam would be capable of killing." He suggested a more culturally familiar
plot: "A lot of women in Iran do run away with their lovers when they are expected
to marry someone they don't want to marry." He saw this as the basis for ...
The Suitors substantially critiques the ideas informing the Hitchcock shower
scene by telling it as the story of the sheep- killing. The slaughterhouse
atmosphere of slasher films is ironically invoked in the killing of the sheep in the
bathtub, and ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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