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Record Nr. |
UNINA9910162791803321 |
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Autore |
Morley Rachel |
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Titolo |
Performing femininity : woman as performer in early Russian cinema / / Rachel Morley |
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Pubbl/distr/stampa |
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London, England : , : I.B. Tauris & Co. Ltd, , 2016 |
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London, England : , : Bloomsbury Publishing, , 2019 |
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ISBN |
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1-350-98748-4 |
1-78672-058-2 |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (xv, 288 pages) : illustrations |
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Collana |
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KINO: the Russian and Soviet cinema series |
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Disciplina |
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Soggetti |
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Motion pictures and women - Russia |
Motion pictures - Russia (Federation) |
Women in motion pictures |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Filmography: pages 274-278. |
Includes bibliographical references (pages 260-273) and index. |
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Nota di contenuto |
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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. |
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Sommario/riassunto |
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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. |
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