Performing Femininity

Woman as Performer in Early Russian Cinema

Nonfiction, Social & Cultural Studies, Social Science, Gender Studies, Entertainment, Performing Arts, History
Cover of the book Performing Femininity by Rachel Morley, Bloomsbury Publishing
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Author: Rachel Morley ISBN: 9781786720580
Publisher: Bloomsbury Publishing Publication: December 15, 2016
Imprint: I.B. Tauris Language: English
Author: Rachel Morley
ISBN: 9781786720580
Publisher: Bloomsbury Publishing
Publication: December 15, 2016
Imprint: I.B. Tauris
Language: English

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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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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