Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

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.

Motion pictures and women --- Motion pictures --- Women in motion pictures. --- Women and motion pictures --- Women --- Cinéma --- Femmes au cinéma --- Cinéma et les femmes

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Distinguished scholars Christina Gledhill and Julia Knight's anthology shows women's work in and around cinema across time in different parts of the world, from pioneering days, through recent developments, pointing towards future modes of production and history writing. At the same time, given the very different historical, socioeconomic, political, and cultural conditions of the cinemas in view, these essays concentrate on key historiographic questions. They include how to identify women's participation in their cinema cultures, where to locate previously unconsidered sources of evidence, how to develop new research methodologies and analytical concepts capable of revealing the impact of gender on film production and reception, and how to reframe film history to accommodate such questions and approaches. If what unifies the range of essays consists of their central focus on women and gender, thereby decentralizing American cinema in film history, it is not the intention to fragment cinemas into discrete national boxes. Instead, analysis of different geopolitical and historical circumstances of women's involvement in different cinemas enable us to better understand the complexity and diversity of that involvement and therefore of cinema itself"--

SOCIAL SCIENCE / Women's Studies. --- PERFORMING ARTS / Film & Video / History & Criticism. --- Women in motion pictures. --- Motion pictures and women. --- Women in the motion picture industry --- Motion pictures --- Women and motion pictures --- Women --- Motion picture industry --- History.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This collection challenges traditional ways of thinking about the relationship between genre and gender, understanding their meeting as a mutually transformative encounter.

Men in motion pictures. --- Women in motion pictures. --- Film genres. --- Feminism and motion pictures. --- Motion pictures and women. --- Sex role in motion pictures. --- Motion pictures --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures and feminism --- Women and motion pictures --- Women --- Plots, themes, etc.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Motion pictures and women --- Silent films --- Women in the motion picture industry --- Motion picture industry --- Moving pictures, Silent --- Silent motion pictures --- Motion pictures --- Women and motion pictures --- Women --- History. --- History --- anno 1900-1999 --- United States --- United States of America --- Movies --- Management --- Film directors --- Companies --- Actors --- Book

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This text reconsiders the history and study of women's documentary filmmaking in the United States from 1920 to 1940, and during the long 1970s - when significant transformations in cinematic technologies coincided with major transformations in sociopolitical discourses surrounding gender and race. Rather than comprehensive, the approach is transhistorical, setting women's cultural expression during these two periods into conversation, and thereby provoking a reconsideration of a number of key debates about subjectivity, feminism, realism, and documentary that have had lasting epistemological and material consequences for film and feminist studies.

Documentary films --- Women motion picture producers and directors --- Feminism and motion pictures. --- Motion pictures and women. --- History --- Women and motion pictures --- Women --- Motion pictures and feminism --- Motion pictures --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures)