| Description |
1 online resource (xv, 288 pages) |
| Series |
KINO: the Russian and Soviet Cinema Series |
|
KINO, the Russian and Soviet cinema series.
|
| Contents |
List of illustrations -- General editors' preface -- Acknowledgements -- Note on transliteration -- Introduction -- The Oriental dancer -- The peasant girl and the Boyar's ward -- The opera singer -- From the Oriental dancer to the tango-woman -- The Gypsy dancer -- From the ballerina to the early modern dancer -- The actress -- Conclusion -- Coda -- Notes -- Bibliography -- Filmography -- Index |
| Summary |
From Oriental dancers to ballerinas and opera singers, the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From Romashkov's Stenka Razin (1908), to Viskovsky's The Last Tango (1918), the female performer remains central. In this groundbreaking new study, Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called New Woman, to broader questions concerning gender identity. Morley also reveals that the film-makers used this archetype of femininity to experiment and develop a unique cinematic language |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record |
| Subject |
Motion pictures -- Russia (Federation)
|
|
Women in motion pictures.
|
|
Motion pictures and women -- Russia
|
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PERFORMING ARTS -- Reference.
|
|
Motion pictures
|
|
Motion pictures and women
|
|
Women in motion pictures
|
|
Russia
|
|
Russia (Federation)
|
| Form |
Electronic book
|
| ISBN |
9781786720580 |
|
1786720582 |
|
9781786730589 |
|
1786730588 |
|
