Oriental dancers, ballerinas, actresses and opera singers the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's Stenka Razin (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's The Last Tango (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel 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 repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language."
This collection offers new perspectives on the lives of eight famous women in nineteenth century France. Their stories are used as a starting point through which the contributing authors experiment with what is called "the new biography.
This collection of essays considers the ways in which feminism is still an important issue in twenty-first century society.
Hayward, Eva. “More Lessons from a Starfish: Prefixial Flesh and Transspeciated Selves.” WSQ: Women's Studies Quarterly 36, no. 3–4 (2008): 64–84. Hazzard-Donald, Katrina. “Dance in Hip Hop Culture.” In Droppin' Science: Critical Essays ...
The chapters in this book illustrate a range of cutting edge research in language and gender studies, with contributions from a number of internationally recognised experts.
What are Italian women's cultural productions? These questions are at the center of this volume, which looks at how feminism and femininity are embedded in a broad spectrum of Italian cultural practices.