Birgit Beumers is Professor Emerita of Film Studies at Aberystwyth University (UK) and working on a project on Central Asian cinema at Passau University in Germany. Catherine Géry is Professor of Russian Literature and Cinema at INALCO (Paris) and Director of the Pedagogical and Scientific Council of the Cité du Genre in France. Eugénie Zvonkine is Professor of Cinema Studies at the University Paris 8 and a junior member of the French University Institute.
Inhaltsangabe
Introduction: New ventures on sexuality, nudity and body culture in Soviet cinema Chapter 1. The Overcoat (1926) through a gender lens: sexual desire and desire for domination Chapter 2. The ecstatic body as image of sexual liberation: Fedor Nikitin's roles in Fridrikh Ermler's films of the late 1920s Chapter 3. Nina Alisova's 'flirtatious movements' in Stalinist cinema Chapter 4. Towards a history of Stalinist spectatorship: bodies on display in 1930s fizkul'tura films Chapter 5. From icon to flesh: The pregnant body in The Commissar (1967) and The Story of Asya Kliachina, Who Loved but Did Not Marry (1966) Chapter 6. Savage youth: Documentary and desire in the cinema of Dinara Asanova Chapter 7. Adolescence as a site of lesbian desire in Soviet cinema: The case of Dubravka Chapter 8. Nude comedians of the Thaw Chapter 9. Sexuality and nudity in Central Asia during Soviet times: the naked female body as surgissement in Andrei Konchalovsky's The First Teacher Chapter 10. The image as eroticised and sexualised body in Andrei Tarkovsky's films Chapter 11. Disturbing eroticisation of (male) bodies in Sergei Parajanov's films: Mythological revelation of a moral impediment Chapter 12. The cinematic Calyptics: Screened desire in Kira Muratova's films of the Soviet period Chapter 13. Sexy scripts? Nadezhda Kozhushanaia's body language Chapter 14. The naked turn in perestroika cinema Chapter 15. Not all nudes are sexy: Psychoanalysis and Stalinist biopolitics in Vitalii Kanevskii's Freeze - Die - Come to Life!
Introduction: New ventures on sexuality, nudity and body culture in Soviet cinema Chapter 1. The Overcoat (1926) through a gender lens: sexual desire and desire for domination Chapter 2. The ecstatic body as image of sexual liberation: Fedor Nikitin's roles in Fridrikh Ermler's films of the late 1920s Chapter 3. Nina Alisova's 'flirtatious movements' in Stalinist cinema Chapter 4. Towards a history of Stalinist spectatorship: bodies on display in 1930s fizkul'tura films Chapter 5. From icon to flesh: The pregnant body in The Commissar (1967) and The Story of Asya Kliachina, Who Loved but Did Not Marry (1966) Chapter 6. Savage youth: Documentary and desire in the cinema of Dinara Asanova Chapter 7. Adolescence as a site of lesbian desire in Soviet cinema: The case of Dubravka Chapter 8. Nude comedians of the Thaw Chapter 9. Sexuality and nudity in Central Asia during Soviet times: the naked female body as surgissement in Andrei Konchalovsky's The First Teacher Chapter 10. The image as eroticised and sexualised body in Andrei Tarkovsky's films Chapter 11. Disturbing eroticisation of (male) bodies in Sergei Parajanov's films: Mythological revelation of a moral impediment Chapter 12. The cinematic Calyptics: Screened desire in Kira Muratova's films of the Soviet period Chapter 13. Sexy scripts? Nadezhda Kozhushanaia's body language Chapter 14. The naked turn in perestroika cinema Chapter 15. Not all nudes are sexy: Psychoanalysis and Stalinist biopolitics in Vitalii Kanevskii's Freeze - Die - Come to Life!
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