
- 304 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
Oriental dancers, ballerinas, actresses and opera singers the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's Stenka Razin (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's The Last Tango (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel 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 repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language."
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Information
Table of contents
- Cover
- Author Bio
- Endorsement
- Series Information
- Title Page
- Copyright Page
- Contents
- List of Illustrations
- General Editors’ Preface
- Acknowledgements
- Note on Transliteration
- Introduction
- 1 The Oriental Dancer
- 2 The Peasant Girl and the Boyar’s Ward
- 3 The Opera Singer
- 4 From the Oriental Dancer to the Tango-Woman
- 5 The Gypsy Dancer
- 6 From the Ballerina to the Early Modern Dancer
- 7 The Actress
- Conclusion
- Coda
- Notes
- Bibliography
- Filmography