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 a long concluding theoretical essay, "Myth Today," Barthes spelled out what he
meant by myth.25 In doing so, he virtually duplicated Calvin's terms, but again,
without recognizing that his critique was thoroughly indebted to the system he ...
The concept of myth "literally deforms, but does not abolish the meaning; a word
can perfectly render this contradiction: it alienates it" (123). Like Calvin's
sacrament that required real bread, the bread ordinarily eaten in ordinary life,
presented an image of a fact, with no connection to anything or anyone else
except through the structure of myth that produced and contained it. Barthes
emphasized the vacuousness of myth in its capacity to take a subject and purify it,
make it ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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