Eugenie Zvonkine – författare

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 – this 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 outline 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 in the field 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.

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 – this 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 outline 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 in the field of film studies, Slavic and Soviet studies, cultural studies, politics and gender studies.

This book, based on extensive original research, examines how far the collapse of the Soviet Union represented a threshold that initiated change or whether there are continuities which gradually reshaped cinema in the new Russia. The book considers a wide range of films and film-makers and explores their attitudes to genre, character and aesthetic style. The individual chapters demonstrate that, whereas genres shifted and characters developed, stylistic choices remained largely unaffected.