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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Mulvey's theory inflected iconoclasm with sexuality, but the reverse could also be
said, that it reinforced the interpretation of sexuality through iconoclastic beliefs.
By proposing that the substance of woman is image, it limited what could be said
Clover's analysis itself employs the discourse of phallic symbolism, ascribing
masculinity to the female hero who kills the threatening villain. The idea of a
public, dominant discourse of sexuality that is fundamentally female instead of
male is ...
Ironically, as the symbol of a "foreign" culture for an American audience, the veil
gives expression to the foreignness of female sexuality within the American
system of phallic symbolism. It states the problem for American women.
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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