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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Instead, it was the metonymy as a performative utterance — the belief that the
words enacted what they declared.14 The objects of the sacrament and the
human participants in the sacrament became, with the performative utterance, the
In this theory, the male physical image could not display or be the idea of the
image that was the structuring lack marking spiritual presence. Mulvey's
adaptation of sacramental iconoclasm maintained the idea of the performative
utterance as ...
On the concept of performative utterance, see Austin, How to Do Things, passim.
He also calls this kind of utterance an "illocutionary act" as opposed to a "
locutionary act." An illocutionary act is the "performance of an act in saying
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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