Marina Rojavin (editor) - Women in Soviet Film: The Thaw and Post-Thaw Periods (Routledge Contemporary Russia and Eastern Europe Series)

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Women in Soviet Film

This book illuminates and explores the representation of women in Soviet cinema from the late 1950s, through the 1960s, and into the 1970s, a period when Soviet culture shifted away, to varying degrees, from the well-established conventions of socialist realism. Covering films about working-class women, rural and urban women, and women from the intelligentsia, it probes various cinematic genres and approaches to film aesthetics, while it also highlights how Soviet cinema depicted the ambiguity of emerging gender roles, pressing social issues, and evolving relationships between men and women. It thereby casts a penetrating light on society and culture in this crucial period of the Soviet Unions development.

Marina Rojavin is teaching at Bryn Mawr College. Some of her scholarly interests are Russian intellectuals in Imperial Russia and Russian intelligentsia, women, and character archetypes in Soviet cinema of the 1960s1980s. Her most recent publication is the textbook Russian for Advanced Students (2013) completed with her colleagues.

Tim Harte is an associate professor of Russian at Bryn Mawr College. He is author of Fast Forward: The Aesthetics and Ideology of Speed in Russian Avant-Garde Culture, 19101930 (2009) as well as various articles on twentieth- century Russian literature and film.

Routledge Contemporary Russia and Eastern Europe Series

Series url: www.routledge.com/Routledge-Contemporary-Russia-and-Eastern-Europe-Series/book-series/SE0766

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Women in Soviet Film

The Thaw and Post-Thaw Periods

Edited by Marina Rojavin and Tim Harte

Women in Soviet Film

The Thaw and Post-Thaw Periods

Edited by Marina Rojavin and Tim Harte

First published 2018

by Routledge

2 Park Square, Milton Park, Abingdon OX14 4RN

and by Routledge

711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

2018 selection and editorial matter, Marina Rojavin and Tim Harte; individual chapters, the contributors

The right of Marina Rojavin and Tim Harte to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging in Publication Data

Names: Rojavin, Marina editor. | Harte, Tim editor.

Title: Women in Soviet film : the thaw and post-thaw periods / Marina Rojavin and Tim Harte [editors].

Description: Milton Park, Abingdon, Oxon ; New York : Routledge, 2017. | Includes bibliographical references and index.

Identifiers: LCCN 2017021007 | ISBN 9781138221642 (hardback) | ISBN 9781315409856 (ebook)

Subjects: LCSH: Women in motion pictures. | Motion picturesSoviet UnionHistory.

Classification: LCC PN1995.9.W6 W6655 2017 | DDC 791.43/6522dc23

LC record available at https://lccn.loc.gov/2017021007

ISBN: 978-1-138-22164-2 (hbk)

ISBN: 978-1-315-40985-6 (ebk)

Typeset in Times New Roman

by Out of House Publishing

Contents

Anthony Anemone

Rimgaila Salys

Tom Roberts

Tatiana Mikhailova

Natalia Klimova

Michele Leigh

Tim Harte

Marina Rojavin

Justin Weir

Anthony Anemone, associate professor of Russian at the New School in New York City, is a specialist in modern Russian literature and cinema. The editor of Just Assassins: The Culture of Terrorism in Russia (2010) and, with Peter Scotto, translator and editor of I Am a Phenomenon Quite out of the Ordinary: The Notebooks, Diaries, and Letters of Daniil Kharms (2013), he is writing a book on the life and works of the Soviet-Georgian filmmaker, Mikhail Kalatozov.

Tim Harte, an associate professor of Russian at Bryn Mawr College, specializes in twentieth-century Russian literature, film, and culture. He is the author of Fast Forward: The Aesthetics and Ideology of Speed in Russian Avant-Garde Culture, 19101930 (2009) as well as various articles on the fiction of Vladimir Nabokov and the films of Aleksei German Sr., Mikhail Kalatozov, and Aleksandr Sokurov. He is currently working on a book that addresses the emergence of modern athletics in early twentieth-century Russia and their paramount significance for the arts and literary culture of the period.

Natalia Klimova is a Ph.D. candidate at Princeton University in the Department of Slavic Languages and Literatures. Her dissertation focuses on documentary modes in post-Soviet culture in Russia in the 1990s2000s, across such media as film, theatre, literature, and photography. She has published on recent Russian documentary cinema and is interested in film, particularly in relation to ideology, politics, and aesthetics of representation of the real. Her work is informed by performance studies and scholarship on trauma, memory, and archive.

Michele Leigh is an assistant professor of film history at Southern Illinois University. She received her Ph.D. from the School of Cinematic Arts at the University of Southern Illinois. Her research interests include representations of women in pre-revolutionary cinema, female industrial practice in Russian cinema, gender construction in adult animation and issues of post-feminism in film and television.

Tatiana Mikhailova is senior instructor of Russian studies at the Department of Germanic and Slavic Languages and Literatures, University of Colorado-Boulder. She authored a number of articles on such diverse subjects as Soviet and post-Soviet film, women studies, media representation of Putin, and, most recently, post-Soviet caricature. Her works were published in such journals as

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