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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Because she is still and does not move, and because the black seems almost a
flat space without depth, absorbing light rather than deflecting it, she is
distinguished from everyone and everything else in the frame. Because she is
of focus, when everything conceptually moves — "you get a really clear picture."
With every move, the image of Mariyam challenges the fixedness of images and
their meaning, their static reified state in the media of capitalism. Because this ...
The story moves, and the storyteller moves, too, so the nature of the juxtaposition
is always changing. There is no way to look through the camera to the story
without seeing the camera. The viewer is always aware that the camera is there,
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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