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 implies that people were in some sense believed to be images themselves,
living images who were out to destroy the threatening and dangerous
representational images, the false images that mimicked their own living images.
The latter concept, that people are living images, was grounded in the ritual of
consecration, presumed to be self-sufficient, without need of images made by
people. But was it? To the extent that the very concept of an image was
dependent on ...
Cinema intensified this problem of false and true images occupying the same
space by presenting moving images of living images, that is, by recording images
of live people moving, breathing, and talking. Calvin's statue really did seem to ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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