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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For Eisenstein as for Peirce, the juxtaposition of images conceptualized the icon
as fundamentally relational. Like Peirce's algebraic equations, Eisenstein's
montage was about the relationships among its parts. He called the parts "
montage "ossifies into lifeless literary symbolism and stylistic mannerism" (58). In
general, his concept of montage was more complicated and more dynamic than "
association" suggests to a modern reader. Eisenstein described how the value ...
Science knows 'ions,' 'electrons' and 'neutrons.' Let there be 'attraction' in art.
Everyday language borrowed from industry a word denoting the assembling of
machinery, pipes, and machine tools. This striking word is 'montage' which
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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