Introduction: New ventures on sexuality, nudity and body culture in Soviet 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



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



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



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!