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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.

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

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Women in motion pictures. --- Feminism and motion pictures. --- Motion pictures and women. --- Femmes --- Féminisme et cinéma --- Au cinéma --- Hitchcock, Alfred, --- Criticism and interpretation. --- Critique et interprétation --- #SBIB:309H1323 --- #SBIB:309H1024 --- #SBIB:316.346H29 --- Women and motion pictures --- Women --- Motion pictures and feminism --- Motion pictures --- Films met een amusementsfunctie en/of esthetische functie: auteurs --- Mediaboodschappen met een ideologische en spiegelfunctie (beeld vrouw, migranten …) --- Positie van de vrouw in de samenleving: andere topics --- Hitchcock, Alfred Joseph, --- Hsi-chʻü-kʻao-kʻo, --- Chitskok, Alphrent, --- היצ'קוק, אלפרד, --- Hīchakāk, Al-Frad , --- هيچکاک, الفرد, --- Hitchcock, Alfred --- هيچکاک، الفرد، --- Féminisme et cinéma. --- Au cinéma. --- Critique et interprétation. --- Women in motion pictures --- Feminism and motion pictures --- Motion pictures and women --- Hitchcok, Alfred