Rachel Morley – författare

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."

A transporting and gloriously entertaining journey through the hidden lives of England’s rural parish churches – from building conservator and church ‘rescuer’ Rachel Morley‘Glorious. A work of rare historical insight and dazzling poetic beauty’ Dominic Sandbrook‘An enchanting voyage . . . filled with love, joy and humour’ James Fox‘Wonderful . . . Rachel Morley speaks for the churches of England’ Tom HollandThe poet John Betjeman coined the phrase ‘church crawling’ to describe his days out visiting churches. In the spirit of Betjeman, Rachel Morley’s book captures the magical experience of poking around a dusty village church, only to have it transform – through her expert eyes – into a portal to the past, one that brings England’s people and history to life in the most colourful, moving and unexpected ways.Through their wall-paintings and monuments, their graffiti and plaques, their jumble of furniture and curios, Morley shows these buildings to be the expression of centuries of communal memory and folk culture – time capsules of connection to ancient and medieval ways of thinking, to revolutions and wars, to lives both glorious and humble.‘Astonishing . . . captivating and original’ Suzannah Lipscomb‘A thrilling, brilliant book which will make you see these beautiful buildings with new eyes’ Alice Loxton‘Wonderful . . . Rachel Morley gets to the heart of the parish church. It could have no more faithful friend’ Simon Jenkins‘Delightful, illuminating’ Tracy Chevalier‘A shimmering paean to the parish churches of England, sparkling with history, humour and wisdom’ Anna Keay

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."

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."

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."