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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Corporate capitalism could not have agreed more. Lacan's semiotics was a
capitulation to the imagistic requirements of circulation and consumption in
corporate capitalism. His theory was a model of socialization into the capitalist
Wollen and Deleuze both have recognized the potential importance of Peirce's
philosophy of signs and Eisenstein 's theory of montage.3 Unlike linguistic
theorists, both Peirce and Eisenstein developed complex theories of the image
that did ...
visual resemblance, Eisenstein developed his iconic theory of cinema to fully
include images perceived as resembling people and things in society.
Eisenstein's larger theory of montage, from which he derived the theory of intra-
shot montage, ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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