000			02056nmm a2200349 i 4500
005			20230705144803.0
008			191015r20192016enka ob 101 0 eng d
010			_z 2018296999 (print)
020			_a9781350987487
020			_z9781784531591 _q(print)
020			_z1784531596 _q(hardback)
020			_z9781786720580 _q(eISBN)
020			_z9781786730589 _q(ePDF)
082			_a791.430947 _223
100			_aMorley, Rachel, _eauthor. _918219
245			_aPerforming femininity : _bwoman as performer in early Russian cinema / _cRachel Morley.
246	3	0	_aWoman as performer in early Russian cinema
250			_aFirst edition.
260			_aLondon, England : _bI.B. Tauris & Co. Ltd, _c2016.
264			_aLondon, England : _bBloomsbury Publishing, _c2019.
300			_a1 online resource (xv, 288 pages) : _billustrations.
504			_aFilmography: pages 274-278.
504			_aIncludes bibliographical references (pages 260-273) and index.
520	8		_aFrom 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.
650			_aMotion pictures and women _zRussia. _918220
650			_aMotion pictures _zRussia (Federation) _918221
650			_aWomen in motion pictures. _918222
650			_2Films, cinema
710	2		_aBloomsbury (Firm), _epublisher. _918223
856			_3Abstract with links to full text _uhttps://doi.org/10.5040/9781350987487?locatt=label:secondary_bloomsburyCollections
942			_cEBK
999			_c13241 _d13241