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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Seeing the material film is a satisfying experience in its own right, with its own
kind of closure, but seeing goes on after that, too, as the unrepresented images
gradually cohere and take on a deeper meaning. This experience is something ...
Since the sheep's death is not literally shown in the film, when NJ says Haji is "
lying there in exactly the sheep's position," she is superimposing the
unrepresented image of the sheep, the mental concept in her own mind, on the
describes here, the unrepresented image can move in more than one direction,
even splattering onto Mariyam as killer. That the unrepresented image of the
sheep is again evoked beyond Haji's death, shows its refusal to come to rest, ...
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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