1st Edition
Sexuality, Nudity and the Body in Soviet Cinema
Introduction: New ventures on sexuality, nudity and body culture in Soviet cinema
Birgit Beumers, Eugénie Zvonkine
Part 1. Body Culture in Early Soviet and Stalinist Cinema
Chapter 1. The Overcoat (1926) through a gender lens: sexual desire and desire for domination
Catherine Géry
Chapter 2. The ecstatic body as image of sexual liberation: Fedor Nikitin’s roles in Fridrikh Ermler’s films of the late 1920s
Polina M. Stepanova
Chapter 3. Nina Alisova’s ‘flirtatious movements’ in Stalinist cinema
F. Booth Wilson
Chapter 4. Towards a history of Stalinist spectatorship: bodies on display in 1930s fizkul'tura films
Samuel Goff
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)
Jenny Kaminer
Chapter 6. Savage youth: Documentary and desire in the cinema of Dinara Asanova
Daniel Schwartz
Chapter 7. Adolescence as a site of lesbian desire in Soviet cinema: The case of Dubravka
Rachel Morley
Part 3. Shifting Body Cultures
Chapter 8. Nude comedians of the Thaw
Nina Sputnitskaya and Maksim Kazyuchits
Chapter 9. Sexuality and nudity in Central Asia during Soviet times: the naked female body as surgissement in Andrei Konchalovsky’s The First Teacher
Eugénie Zvonkine
Chapter 10. The image as eroticised and sexualised body in Andrei Tarkovsky’s films
Olga Kobryn
Chapter 11. Disturbing eroticisation of (male) bodies in Sergei Parajanov’s films: Mythological revelation of a moral impediment
Mathieu Lericq
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
Birgit Beumers
Chapter 14. The naked turn in perestroika cinema
Volha Isakava
Chapter 15. Not all nudes are sexy: Psychoanalysis and Stalinist biopolitics in Vitalii Kanevskii’s Freeze – Die – Come to Life!
Biography
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.
