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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Protestantism, the Lord's Supper (essentially, the Protestant version of the
Catholic Mass). Calvin's description of the sacramental ritual emphasized the
priorities of the iconoclastic mind. The rejection of images of people was only one
Protestant sacrament. Airy though it may seem, the mystical corporate body
depended on a religion that was first of all a visual practice. In Calvin's summary
of what it took to make a sacrament, the enabling device of metonymy yoked the ...
The transposition of Calvinism and capitalism was possible because of the
equivalence between the commodity and the sacramental object. Calvin
emphasized the use value of the objects of the sacrament, and he meant that in
the same way ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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