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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When heterosexually coded, this assumed that men were inherently violent,
iconoclasts at heart, driven by a destructiveness that was naturalized as
inevitable rather than perceived as the product of cultural mandates. In this
paradigm women ...
The story of the sheep dismantles the normalization of terror that covers over the
violence of terrorism. The veneer of sacrifice gives way and appears as just that
— a veneer to conceal a violence that cannot be justified or contained within the
CK rejected Mariyam's act of violence as strongly as she had rejected the
violence of the men who killed the sheep. For NP, the most salient moral issue in
the stabbing scene was her own sense of contradiction as a viewer: "I feel guilty!
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The Capitalist Theory of the Image
Congruence with the Capitalist Economy
Critique of Barthes
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