Sexuality, Nudity and the Body in Soviet Cinema

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 Nikitin's roles in Fridrikh Ermler's films of the late 1920s

Chapter 3. Nina Alisova's '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 Konchalovsky's The First Teacher

Chapter 10. The image as eroticised and sexualised body in Andrei Tarkovsky's films

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

Part 4: Body Politics

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

Chapter 14. The naked turn in perestroika cinema

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