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Sexuality, Nudity and the Body in Soviet Cinema [Kietas viršelis]

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  • Formatas: Hardback, 236 pages, aukštis x plotis: 234x156 mm, weight: 630 g, 43 Halftones, black and white; 43 Illustrations, black and white
  • Serija: Routledge Contemporary Russia and Eastern Europe Series
  • Išleidimo metai: 18-Jul-2025
  • Leidėjas: Routledge
  • ISBN-10: 103261532X
  • ISBN-13: 9781032615325
Kitos knygos pagal šią temą:
Sexuality, Nudity and the Body in Soviet CinemaDidesnis paveikslėlis
  • Formatas: Hardback, 236 pages, aukštis x plotis: 234x156 mm, weight: 630 g, 43 Halftones, black and white; 43 Illustrations, black and white
  • Serija: Routledge Contemporary Russia and Eastern Europe Series
  • Išleidimo metai: 18-Jul-2025
  • Leidėjas: Routledge
  • ISBN-10: 103261532X
  • ISBN-13: 9781032615325
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781032615325.html

This book explores evocations of and allusions to sexual desire in Soviet cinema, 1919–1991.

By deploying several lines of investigation – from the cult of the masculine, strong body in Stalinist cinema to the shifting signification of the naked body (male and female) in post-war cinema, and to the display of a sexualised body in the late Soviet era – the book establishes the extent to which Soviet cinema actually did reveal sexuality. It also explores how external political and social factors impacted representation. Overall, the contributions challenge the narrative of Soviet cinema as an art form where the representation of sexuality was taboo and outlines shifts in the concepts of the naked and sexualised body, of sexuality and sexual relationships.

This book will be of interest to scholars and researchers of film studies, Slavic and Soviet studies, cultural studies, politics, and gender studies.



This book explores evocations of and allusions to sexual desire in Soviet cinema, 1919–1991.

Introduction: New ventures on sexuality, nudity and body culture in
Soviet cinema

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

Chapter
2. The ecstatic body as image of sexual liberation: Fedor Nikitins
roles in Fridrikh Ermlers films of the late 1920s

Chapter
3. Nina Alisovas flirtatious movements in Stalinist cinema

Chapter
4. Towards a history of Stalinist spectatorship: bodies on display in
1930s fizkul'tura films

Part
2. Bodies in Revolution

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

Part
3. Shifting Body Cultures

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 Konchalovskys The First Teacher

Chapter
10. The image as eroticised and sexualised body in Andrei Tarkovskys
films

Chapter
11. Disturbing eroticisation of (male) bodies in Sergei Parajanovs
films: Mythological revelation of a moral impediment

Part 4: Body Politics

Chapter
12. The cinematic Calyptics: Screened desire in Kira Muratovas films
of the Soviet period

Chapter
13. Sexy scripts? Nadezhda Kozhushanaias body language

Chapter
14. The naked turn in perestroika cinema

Chapter
15. Not all nudes are sexy: Psychoanalysis and Stalinist biopolitics
in Vitalii Kanevskiis Freeze Die Come to Life!
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.