Cinema

Beumers/RussianCinemaBibliography/2012/p.1

REFERENCE BOOKS Arkus, Liubov’ (ed). Noveishaia istoriia otechestvennogo kino 1986-2000. Kinoslovar'. 3 vols. St.

Petersburg: Seans, 2001. —. (ed). Noveishaia istoriia otechestvennogo kino 1986-2000. Kino i kontekst. 4 vols. St. Petersburg:

Seans, 2002-5. Iutkevich, S. (ed). Kinoslovar'. Moskva: Sovietskaia Entsiklopediia, 1986. Kudriavtsev, Sergei. Svoe kino. Moscow: Dubl' D, 1998. Marshall, Herbert. Masters of the Soviet cinema: crippled creative biographies. London: Routledge,

1983. Razlogov, Kirill (ed). Pervyi vek nashego kino, Moscow: Lokid Press, 2006. Taylor, Richard, with Nancy Wood, Julian Graffy, and Dina Iordanova (eds). The BFI Companion to

Eastern European and Russian Cinema. London: British Film Institute, 2000. Segida Miroslava and Sergei Zemlianukhin. Domashniaia sinemateka: otechestvennoe kino 1918-1996.

Moscow: Dubl’ D, 1996. —. Fil’my Rossii. Igrovoe kino. 1995-2000. Moscow: Dubl’ D, 2001. —. Fil’my Rossii. Igrovoe kino. TV. Video. 1992-2003. Moscow: Dubl’ D, 2004. ON RUSSIAN & SOVIET CINEMA Attwood, Lynne (ed). Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to

the End of the Communist Era. London: Pandora, 1993. Beardow, Frank. ‘Soviet cinema, past, present and future’, Rusistika 3 (1991): 19-25. —. ‘Soviet cinema: coming to terms with the past’, Rusistika 7 (1993): 31-36 and 8 (1993): 2-18. —. ‘Soviet cinema: women – icons or individuals?’ Rusistika 9 (1994): 22-42 and 10 (1994): 2-13 and 11

(1995): 35-42. —. ‘Soviet cinema – war revisited’, Rusistika 15 (1997): 19-34 and 16 (1997): 8-21. Beumers, Birgit. ‘Myth-making and myth-taking: Lost Ideals and the War in Contemporary Russian

Cinema’, Canadian Slavonic Papers 42.1-2 (2000): 171-189. —. ‘Father Frost on 31 December: Christmas and New Year in Soviet and Russian Cinema’, in Mark

Connelly (ed) Christmas in the Movies, London: I.B. Tauris, 2000, pp. 185-209. —. ‘Soviet and Russian Blockbusters: A question of genre?’, Slavic Review 62.3 (2003): 441-454. —. (ed) 24 Frames: The Cinema of Russia and the Former Soviet Union. London: Wallflower Press,

2007. Fomin, Valerii. Pravda skazki. Kino i traditsii fol’klora, Moscow: Materik, 2001. Gillespie, David. Russian Cinema. New York: Longman, 2003. Golovskoy, Val and John Rimberg. Behind the Soviet Screen, Ann Arbor: Ardis, 1986. Horton, Andrew. Inside Soviet Film Satire. Cambridge: Cambridge UP, 1993. Hutchings, Stephen and Anat Vernitski (eds). Russian and Soviet Film Adaptations of Literature, 1900-

2001. Screening the Word. London: Routledge, 2005. Kenez, Peter. Cinema and Soviet Society, 1917-1953. Cambridge: Cambridge UP, 1992. Lawton, Anna. The Red Screen: Politics, Society, Art in Soviet Cinema. London and New York:

Routledge, 1992. Leyda, J. Kino: A History of the Russian and Soviet Film. Princeton: Princeton UP, 1960. Rimberg, John. The Motion Picture in the Soviet Union, 1918-1952: a sociological analysis. New York:

Arno Press, 1973. Shlapentokh, Dmitry & Vladimir. Soviet Cinematography, 1918-1991. New York: Aldine de Gruyter,

1993. Stites, Richard. Russian Popular Culture. Entertainment and Society since 1900. Cambridge: Cambridge

UP, 1992. Taylor, Richard and Ian Christie (eds). Inside the Film Factory. New Approaches to Russian and Soviet

Cinema. London and New York: Routledge, 1991. —. (eds). The Film Factory. Russian and Soviet Cinema in Documents 1896-1939. London and New

York: Routledge, 1988. Taylor, Richard (1982) The Poetics of Cinema. Oxford: RPT Publ., 1982 Youngblood, Denise. Russian War Films: On the Cinema Front, 1914-2005. Lawrence: University Press

of Kansas, 2007.


Zorkaya, Neya. The Illustrated History of the Soviet Cinema. New York: Hippocrene Books, 1991. RUSSIAN & SOVIET FILM THEORY Eagle, Herbert (ed). Russian Formalist Film Theory. Ann Arbor: Michigan Slavic Publications, 1981. Eikhenbaum, Boris (ed). Poetika kino. Moscow, Leningrad: Kinopechat’, 1927. Gerould, Daniel. ‘Russian Formalist Theories of Melodrama’, in Marcia Landy (ed) Imitations of Life: A

Reader on Film & Television Melodrama. Detroit: Wayne State UP, 1991. Taylor, Richard (ed). The Poetics of Cinema. Russian Poetics in Translation, 9. Oxford: RPT

Publications, 1982. SOVIET AND RUSSIAN CULTURAL STUDIES Balina, Marina with Evgenii Dobrenko, Iurii Murashov (eds). Sovetskoe bogatstvo: Stat'i o kul'ture,

literature i kino. St. Petersburg: Akademicheskii proekt, 2002. Barker, Adele Marie (ed). Consuming Russia: Popular Culture, Sex, and Society since Gorbachev.

Durham: Duke UP, 1999. Berry, Ellen E. and Anessa Miller-Pogacar (eds). Re-Entering the Sign: Articulating New Russian

Culture. Ann Arbor: U of Michigan Press, 1995. Beumers, Birgit. Popular Culture Russia! Santa Barbara, Denver, London: ABC Clio, 2005. Boym, Svetlana. Common Places: Mythologies of Everyday Life in Russia. Cambridge MA and London:

Harvard UP, 1994. Boym, Svetlana. The Future of Nostalgia. New York: Basic Books, 2001. Clark, Katerina. The Soviet Novel: History as Ritual. Chicago: Chicago UP, 1981. Condee, Nancy (ed). Soviet Hieroglyphics: Visual Culture in Late Twentieth-century Russia.

London/Bloomington: BFI/Indiana UP, 1995. Graffy, Julian and G. Hosking (eds). Culture and the Media in the USSR Today. London: Macmillan,

1989. Günther, Hans and Evgenii Dobrenko (eds). Sotsrealisticheskii kanon. St. Petersburg: Akademicheskii

proekt, 2000. Günther, Hans and Sabine Hänsgen (eds). Sovetskaia vlast' i mediia. St. Petersburg: Akademicheskii

proekt, 2006. Hutchings, Stephen. Russian Literary Culture and the Camera Age: The Word as Image. London:

RoutledgeCurzon, 2004. James, Vaughan. Soviet Socialist Realism: Origins and Theory. New York: St. Martin’s Press, 1973. Kelly, Catriona and David Shepherd. Russian Cultural Studies. Oxford: Oxford UP, 1998. Lahusen, Thomas (ed). Socialist Realism without Shores. Durham NC: Duke UP, 1997. Lahusen, Thomas with Gene Kuperman (eds). Late Soviet Culture: from perestroika to novostroika.

Durham NC: Duke UP, 1993. Miller, Frank. Folklore for Stalin. Columbia: Columbia UP, 1990. Robin, Regine. Socialist Realism. Stanford: Stanford UP, 1992. Stites, Richard. Russian Popular Culture. Cambridge: Cambridge UP, 1992. van Geldern, James and Richard Stites (eds). Mass Soviet Culture in Soviet Russia. Bloomington: Indiana

UP, 1995.

CHRONOLOGICAL PRE-REVOLUTIONARY CINEMA Batalin, Viktor. Kinokhronika v Rossii, 1896-1916gg.: Opis' kinos"emok, khraniashchikhsia v RGAKFD.

Moscow: Olma-Press, 2002. Cherchi Usai, Paolo, et al (eds). Silent Witnesses. Russian Films, 1908-1919. coordination by Yuri

Tsivian. London: BFI, 1989. Deriabin, A., Fomin, V., Vishnevskii, Veniamin et al. (eds). Letopis' Rossiiskogo kino, 1863-1929.

Moscow: Materik, 2004. Ginzburg, Semen. Kinematografiia dorevolutsionnoi Rossii. Moscow: Iskusstvo. 1963 Ivanova, V. with V. Myl’nikova, S. Skovorodnikova, Iu. Tsivian, and R. Iangirov (eds). Velikii Kinemo:

Katalog sokhranivshikhsia igrovykh fil'mov Rossii, 1908-1919. Moscow: Novoe literaturnoe obozrenie, 2002.


McReynolds, Louise. ‘The Silent Movie Melodrama: Evgenii Bauer Fashions the Heroine’s Self’, in Laura Engelstein and Stephanie Sandler (eds), Self and Story in Russian History, Ithaca and London: Cornell University Press, 2000, pp. 120-139.

—. ‘Home Was Never Where The Heart Was: Domestic Dystopias in Russia’s Silent Movie Melodrama’, in L. McReynolds and J. Neuberger (eds), Imitations of Life: Two Centuries of Melodrama in Russia, Durham and London: Duke UP, 2002, pp. 127-151.

Morley, Rachel. ‘Gender Relations in the Films of Evgenii Bauer’, Slavonic and East European Review, 81.1 (2003): 32-69.

Sobolev, R. Liudi i fil´my russkogo dorevoliutsionnogo kino. Moscow: Iskusstvo, 1961. Tsivian, Yuri. Early Cinema in Russia and its Cultural Reception. Chicago and London: U of Chicago

Press, 1994. —. (ed). Lines of Resistance: Dziga Vertov and the Twenties. Pordenone, 2005. Vishnevskii, Veniamin, et al. (eds). Letopis' Rossiiskogo kino, 1863-1929. Moscow: Materik. 2004. Youngblood, Denise. The Magic Mirror. Moviemaking in Russia, 1908-1918. Madison, WI and London,

U of Wisconsin Press, 1999. EARLY SOVIET CINEMA Aumont, Jacques. Montage Eisenstein. London: BFI Publishing & Bloomington IN: Indiana University

Press, 1987. Barna, Yon. Eisenstein. London: Secker & Warburg, 1973. Beumers, Birgit. ‘Eisenstein: The Battleship Potemkin’, in Forbes, Jill and Sarah Street (eds) European

Cinema. London: Palgrave, 2000, pp. 53-64. Bordwell, David. ‘The Idea of Montage in Soviet Art and Film’ Cinema Journal 11.2 (1972): 9-17. —. The Cinema of Eisenstein. Cambridge MA & London: Harvard UP, 1993. Brooks, Jeffrey. ‘Russian Cinema and Public Discourse, 1900-1930’, Historical Journal of Film, Radio

and Television 11.2 (1991): 141-148. Bulgakowa, Oksana. Sergei Eisenstein: A Biography. Berlin & San Francisco: PotemkinPress, 2001. Cavendish, Phil. Soviet Mainstream Cinematography: The Silent Era. London: UCL Arts and Humanities

Publications, 2007. Christie, Ian and Richard Taylor (eds). Eisenstein rediscovered. London: Routledge, 1993. Eisenstein [Eizenshtein], Sergei. Izbrannye proizvedeniia, 6 vols. Moscow: Iskusstvo, 1964-71. Eisenstein, Sergei. Nonindifferent Nature. Cambridge: Cambridge UP, 1987. Gillespie, David. Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower,

2000. Goodwin, James. Eisenstein, Cinema & History. Urbana & Chicago IL: University of Illinois Press, 1993. Graffy, Julian. Bed and Sofa (KinoFile 5). London: IB Tauris, 2001. Hicks, Jeremy. Dziga Vertov: Defining Documentary Film, London IB Tauris, 2007. Iurenev, Rostislav. Sergei Eizenshtein. Zamysli. Fil’my. Metod. Chast’ pervaia: 1898-1929. Moscow:

Iskusstvo, 1985. Kenez, Peter. The Birth of the Propaganda State: Soviet Methods of Mass Mobilization, 1917-1929. New

York: Cambridge UP, 1985. Kenez, Peter. Cinema and Soviet Society, 1917-1953. New York: Cambridge UP, 1992. Kepley, Vance. ‘Foreign Films on Soviet Screens, 1922-1931’, Quarterly Review of Film Studies 4.4

(1979): 429-442. —. ‘The Workers' International Relief and the Cinema of the Left, 1921-1935’, Cinema Journal 23.1

(1983): 7-23. —. ‘The Origins of Soviet Cinema: A Study in Industry Development’, Quarterly Review of Film Studies

4 (1985): 22-38. —. ‘Building a National Cinema: Soviet Film Education, 1918-1934’, WideAngle 9.3 (1987): 4-20. —. The End of St Petersburg (KinoFile 10). London: I.B. Tauris, 2003. Leyda, Jay and Zina Voynow (eds). Eisenstein at Work. London: Methuen, 1985. Liber, George. Alexander Dovzhenko: A Life in Soviet Film. London: BFI, 2002. Listov, Viktor. ‘Early Soviet Cinema: the spontaneous and the planned, 1917-1924’, Historical Journal of

Film, Radio and Television 11.2 (1991): 121-127. —. Rossiia. Revoliutsiia. Kinematograf: K 100-letiiu mirovogo kino. Moscow: Materik,1995.


Listov, Viktor and Elena Khokhlova (eds). Istoriia otechestvennogo kino: dokumenty, memuary, pis'ma. vyp. 1. Moscow: Materik, 1996.

Mal'kova, Liliana, Sovremennost' kak istoriia: Realizatsiia mifa v dokumental'nom kino. Moscow: Materik, 2002.

Mayne, Judith. Kino and the Woman Question: Feminism and Soviet Silent Cinema. Columbus: Ohio State UP,.1989.

Michelson, Annette (ed). Kino-eye: the writings of Dziga Vertov. Berkeley: U of California Press, 1984. Nesbet, Anne. Savage Junctures. Sergei Eisenstein and the Shape of Thinking. London: I.B. Tauris, 2003. Petric, Vlada. Constructivism in film: The man with the movie camera, Cambridge: Cambridge UP, 1987. Reeder, R. ‘Agit-Prop Art: Posters, Puppets, Propaganda and Eisenstein’s Strike’, Russian Literature

Triquarterly 22 (1989): 255-78. Roberts, Graham. Forward Soviet. History and Non Fiction film in the USSR. London: IB Tauris, 1999. —. The Man with the Movie Camera (KinoFile 2). London: IB Tauris, 2000. Sargeant, Amy. Vsevolod Pudovkin: Classic Films of the Soviet Avant-Garde. London: IB Tauris, 2001. Seton, Marie, Sergei M. Eisenstein. A Biography. London: Dennis Dobson, 1978. Taylor, Richard. The Politics of the Soviet Cinema, 1917-1929. Cambridge: Cambridge UP, 1979. —. Film Propaganda: Soviet Russia and Nazi Germany. London: I.B.Tauris (original edition 1979),

1998. —. (ed). The Eisenstein Reader. London: BFI, 1998. —. The Battleship Potemkin (KinoFile 1). London: I.B. Tauris, 2000. —. October. London: BFI, 2002. —. (ed). The Eisenstein Collection, London, New York, Calcutta: Seagull Books, 2006. Yampolsky, Mikhail. ‘Reality at Second Hand’, Historical Journal of Film, Radio and Television 11.2

(1991): 161-171. Yangirov, Rashit. ‘Soviet Cinema in the Twenties: national alternatives’ Historical Journal of Film,

Radio and Television 11.2 (1991): 129-139. Youngblood, Denise. Soviet Cinema in the Silent Era, 1918-1935, Austin: U of Texas Press, 1985. —. Movies for the Masses: Popular Cinema and Soviet Society in the 1920s, Cambridge: Cambridge UP,

1992. —. ‘'History' on Film: the Historical Melodrama in Early Soviet Cinema’, Historical Journal of Film,

Radio and Television 11.2 (1991): 173-184. Zorkaia, Neia, et al. (eds). Ekrannye iskusstva i literatura: nemoe kino. Moscow: Nauka, 1991. CINEMA UNDER STALIN Anderson, Trudy. ‘Why Stalinist Musicals?’ Discourse 17.3 (1995), 38-48. Anon. ‘Zemlia 1930-1994’, Kinovedcheskie zapiski 23 (1994): 103-224 [special issue]. Chernenko, Miron. Krasnaia zvezda, zheltaia zvezda. Vinnitsa: Globus Press, 2001. Crofts, S. ‘Ideology and Form: Soviet Socialist Realism and Chapayev’, Essays in Poetics, II.1 (1977):

43-57. Dobrenko, Evgeny. ‘Muzyka vmesto sumbura: Narodnost' kak problema muzykal'noi kinokomedii

stalinskoi epokhi’, Revue des Études slaves 67.2-3 (1995): 407-433. —. ‘The Russia We Acquired: Russian Classics, the Stalinist Cinema, and the Past from the

Revolutionary Perspective’, Russian Studies in Literature 37.4 (2001): 61-91. ––. ‘Late Stalinist Cinema and the Cold War: An Equation without Unknowns’, Modern Language

Review, 98.4 (2003): 929-944. —. ‘Creation myth and myth creation in Stalinist cinema’, Studies in Russian and Soviet Cinema 1.3

(2007): 239-264. —. Stalinist Cinema and the Production of History. Edinburgh: Edinburgh University Press, 2008. Dzhulai, Liudmila. Dokumental'nyi illiuzion: Otechestvennyi kinodokumental'izm. Opyty sotsial'nogo

tvorchestva. Moscow: Materik, 2001. Ferro, M. ‘The Fiction Film and Historical Analysis,’ in Paul Smith (ed), The Historian and Film,

Cambridge: CUP, 1976, pp. 80-95. Haynes, John. New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema. Manchester and New

York: Manchester UP, 2003.


—.‘Film as political football: The Goalkeeper’, Studies in Russian and Soviet Cinema 1.3 (2007): 283-297.

Holmgren, Beth. ‘The Blue Angle and Blackface: Redeeming Entertainment in Aleksandrov’s Circus’, Russian Review 66 (2007): 5-22.

Hutchings, Stephen. ‘Tchapaiev: l’homme de tous les temps, l’homme de tous les medias’, La Revue Russe 21 (2002): 9-16.

Iurenev, Rostislav. Sovetskoe kinoiskusstvo tridtsatykh godov. Moscow: VGIK, 1997. Kaganovsky, Lilya, ‘The voice of technology and the end of Soviet silent film: Grigorii Kozintsev and

Leonid Trauberg’s Alone’, Studies in Russian and Soviet Cinema 1.3 (2007): 265-281. Kenez, Peter. ‘Black and White: The War on Film’, in Richard Stites (ed) Culture and Entertainment in

Wartime Russia. Bloomington: Indiana UP, 1995. —.‘Jewish Themes in Stalinist Films’ Journal of Popular Culture 31.4 (1998): 159-169. Kepley, V. ‘Earth’ in In the Service of the State: the Cinema of Alexander Dovzhenko, Madison: U of

Wisconsin Press, 1986, pp. 75-84. —.‘Dovzhenko and montage: issues of style and narration in the silent films’, Journal of Ukrainian

Studies, 19.1 (1994): 29-44. Laurent, Natacha. L’oeil du Kremlin: cinema et censure en URSS sous Staline. Toulouse: Privat. 2000. Liber, George. Alexander Dovzhenko: A Life in Soviet Film. London: BFI, 2002. Mamatova, Lidiia. Kino: politika i liudi: 30-ye gody. Moscow: Materik, 1995. Margolit, Evgenii and Viacheslav Shmyrov. iz"iatoe kino. Moscow: Dubl' D, 1995. Mar'iamov, Grigorii. Kremlevskii tsenzor: Stalin smotrit kino. Moscow: Kinotsentr, 1992. Miller, Jamie. ‘Soviet Cinema, 1929-41: The Development of Industry and Infrastructure’, Europe Asia

Studies, 58. 1 (2006): 103-124. —. ‘The purges of Soviet cinema 1929-1938’, Studies in Russian and Soviet Cinema, 1.1 (2007): 5-26. —. ‘Educating the Filmmakers: the State Institute of Cinematography in the 1930s’, The Slavonic and

East European Review, 85.3 (2007): 462-490. Neuberger Joan. Ivan the Terrible (KinoFile 9). London: I.B. Tauris, 2003. Prokhorov, Alexander. ‘Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The

Cranes Are Flying’ in Louise McReynolds and Joan Neuberger (eds) Imitations of Life: Two Centuries of Melodrama in Russia. Durham: Duke UP, 2002, pp. 208-231.

—. ‘Revisioning Alexandrov’s Circus: Seventy Years of the great Family, Russian Review 66 (2007): 1-4.

Riley, John. Dmitri Shostakovich. (Kino Companion 3). London: I.B. Tauris, 2005. Salys, Rimgaila. ‘Art Deco Aesthetics in Grigorii Aleksandrov’s The Circus’, Russian Review 66 (2007):

23-35. Schmulevitch, Éric. Réalisme socialiste et cinéma: Le cinéma stalinien (1928-1941). Paris: Editions

L'Harmattan, 1996. Taylor, R and Derek Spring (eds). Stalinism and Soviet Cinema. London: Routledge, 1993. Taylor, Richard. ‘A 'Cinema for the Millions': Soviet Socialist Realism and the Problem of Film

Comedy’, Journal of Contemporary History 18 (1983): 439-61. ––. ‘The Illusion of Happiness and the Happiness of Illusion: Grigorii Aleksandrov’s The Circus’, Slavic

and East European Review 74.4 (1996): 601-620. ––. ‘Singing on the Steppes for Stalin: Ivan Pyr’ev and the Kolkhoz Musical in Soviet Cinema’, Slavic

Review, 58.1 (1999): 143-159. —. ‘But eastward, look, the land is brighter: towards a topography of utopia in the Stalinist musical’, in

Diana Holmes and Alison Smith (eds) 100 Years of European cinema: Entertainment or ideology? Manchester: Manchester UP, 2000, pp. 11-26.

Tsivian, Yuri. Ivan the Terrible. London: BFI Classics, 2001. Widdis, Emma. Visions of a New Land: Soviet Film from the Revolution to the Second World War. New

Haven: Yale UP, 2003. —. Alexander Medvedkin (Kino Companion 2). London: I.B. Tauris, 2005. Youngblood, Denise. ‘The Fate of Soviet Popular Cinema During the Stalin Revolution’, The Russian

Review 50 (1991): 148-162.


POST-WAR CINEMA Anninskii, Lev. Shestidesiatniki i my. Moscow: Souiz kinematografistov SSSR and Kinotsentr, 1991. Andrew, Joe. ‘Birth equals rebirth: Space, narrative and gender in The Commissar’, Studies in Russian

and Soviet Cinema 1.1 (2007): 29-44 Baraban, Elena. ‘The Fate of a Man by Sergei Bondarchuk and the Soviet cinema of trauma’, Slavic and

East European Journal, 51.3 (2007): 514-534. Barta, Peter and Stephen Hutchings. ‘The Train as Word-Image Intertext in the Films “Ballad o a Soldier”

and “Thief”, Intertexts 6.2 (2002): 127-144. Beumers, Birgit. Nikita Mikhalkov (Kino Companion 1). I.B. Tauris, London, 2005. Bird, Robert. Andrei Rublev. London: BFI Classics, 2004. DeBlasio, Alyssa. ‘The New-Year film as a genre of post-war Russian cinema’ Studies in Russian and

Soviet Cinema 2.1 (2008): 43-61. Drobashenko, S. (ed) () Sovetskoe kino 70-e gody. Moscow: Iskusstvo. 1984 Dymshits, N. and Aleksandr Troshin (eds). Iz proshlogo v budushchee: Proverka na dorogakh. Moscow:

VNII Kinoiskusstva, 1990. First, Joshua. ‘Making Soviet melodrama contemporary: Conveying “emotional information” in the era of

Stagnation’, Studies in Russian and Soviet Cinema 2.1 (2008): 21-42. Fomin, Valerii. Peresechenie parallel'nykh: Lotianu, Il'enko, Ioseliani, Mansurov, Okeev, Panfilov,

Shukshin. Moscow: Iskusstvo, 1976. —. Polka. Moscow: NII Kinoiskusstva, 1992. —. Zapreshchenye fil'my. (vol 2 of Polka). Moskva: NII Kinoiskusstva, 1993. —. Kino i vlast' : sovetskoe kino, 1965-1985 gody: dokumenty, svidetel'syva, razmyshleniya. Moscow:

Materik, 1996. —. (ed) () Kinematograf ottepeli: Dokumenty i svidetel'stva. Moskva: Materik, 1998. Gillespie, David. ‘The Sounds of Music: Soundtrack and Song in Soviet Film’ Slavic Review 62.3 (2003):

473-490. Givens, John. ‘Vasilii Shukshin and the “Audience of Millions”: Kalina krasnaia and the power of

popular cinema’, Russian Review 58 (1999): 268-285. Goulding, Daniel J. (ed). Post New Wave Cinema in the Soviet Union and Eastern Europe. Bloomington:

Indiana UP, 1989. Graffy, Julian. ‘History, memory, water: The reclamation of Georgian identity in Irakli Kvirikadze’s The

Swimmer’, Studies in Russian and Soviet Cinema 1.3 (2007): 299-327. Gromov, E. Komedii i ne tol’ko komedii. Moscow: Soiuz kinematografistov SSSR, 1989. Hutchings, Stephen. ‘Word and Image in El’dar Riazanov’s S legkym parom Or The Irony of (Cinematic

Fate)’, Essays in Poetics 25 (2000): 236-55. Johnson, Vida T. and Graham Petrie. The Films of Andrei Tarkovsky: a visual fugue, Bloomington:

Indiana UP, 1994. Kozintsev, Grigorii. King Lear: the Space of Tragedy. Diary of a Film Director. London: Heinemann,

1977. Le Fanu, Mark. The cinema of Andrei Tarkovsky. London: BFI, 1987. MacFadyen David. The Sad Comedy of El'dar Riazanov. Montreal and London: McGill-Queen's

University Press, 2003. —. ‘Moscow Does Not Believe in Tears: From Oscar to consolation prize’, Studies in Russian and Soviet

Cinema 1.1 (2007): 45-67. Mamatova, Lidiia (ed). Aktual'nye problemy sovetskogo kino nachala 80-kh godov. Moscow: NII

Kinoiskusstva, 1983. Martin, Michel. Cinéma soviétique: de Khrouchtev à Gorbatchev. Lausanne: L'Age d'homme, 1993 Prokhorov, Alexander. ‘Soviet Family Melodrama of the 1940s and 1950s’, in Louise McReynolds and

Joan Neuberger (eds), Imitations of Life: Two Centuries of Melodrama in Russia, Durham and London: Duke University Press, 2002, pp. 208-231.

—.‘Cinema of Attraction versus Narrative Cinema: Leonid Gaidai’s and El’dar Riazanov’s Satires of the 1960s’ Slavic Review 62.3 (2003): 455-472.

—.‘The adolescent and the child in the cinema of the Thaw’, Studies in Russian and Soviet Cinema 1.2 (2007): 115-129.


Quart, Barbara. ‘Between Mysticism and Materialism: The Films of Larisa Shepitko’, Cineaste 16.3 (1988): 4-11.

Rifkin, Benjamin. ‘The Christian subtext in Bykov’s “Čučelo”, Slavic and East European Journal 37.2 (1993): 178-193.

Synessiou Natasha. Mirror (KinoFile 6). London: I.B. Tauris, 2001. Tarkovskii, Andrei, Time within time: the diaries, 1970-1986. London: Faber, 1994. Tarkovsky, Andrey. Sculpting in Time, Austin: University of Texas Press, 1986. Taubman, Jane. ‘The Cinema of Kira Muratova’, Russian Review 52 (1993): 367-381. —. Kira Muratova (Kino Companion 4). London: I.B. Tauris, 2005. Troianovskii, Vitalii (ed). Kinematograf ottepeli. Kniga pervaia. Moscow: Materik, 1996. Turovskaya, Maya. Tarkovsky: cinema as poetry. London: Faber, 1989. Vail', Petr. ‘60-e: sovetskoe kino i stil' epokhi. Razmyshleniia i kommentarii’, in Aleksandr Troshin (ed)

Close-Up: Istoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996-1998 gody. Moscow: VGIK, 1999, pp. 230-233.

Vlasova, M. (ed). Sovetskoe kino semidesiatykh - pervoi poloviny vos'midesiatykh godov: Uchebnoe posobie. Moscow: VGIK, 1997.

Woll Josephine. Real Images. Soviet Cinema of the Thaw. London: IB Tauris, 2000. —. The Cranes are Flying (KinoFile 7). London: I.B. Tauris, 2003. Youngblood, Denise. ‘Andrei Rublev: The Medieval Epic as Post-Utopian History’, in Vivian Sobchack

(ed), The Persistence of History: Film, Television, and the Modern Event, New York: Routledge, 1996, pp. 127-43.

Zorkaia, Neia. Èl’dar Riazanov: Sbornik. Moscow: Iskusstvo. 1974 GLASNOST AND PERESTROIKA Beardow, Frank. Little Vera (KinoFile 8). London: I.B. Tauris, 2003. Boym, Svetlana. ‘Post-Soviet Cinematic Nostalgia: From 'Elite Cinema' to Soap Opera’, Discourse 17.3

(1995): 75-84. Brashinsky, Michael and Andrew Horton (eds). Russian Critics on the Cinema of Glasnost'. Cambridge:

Cambridge UP, 1994. Budiak, Liudmila. ‘We Cannot Live This Way: Reflections on the State of Contemporary Soviet Film’,

Film Quarterly 44.2 (1990-91): 28-33. Condee, Nancy. ‘The Dream of Well-Being’, Sight and Sound 12 (1997): 18-21. Condee, Nancy and Vladimir Padunov. ‘The Outposts of Official Art: Recharting Soviet Cultural

History’, Framework 34 (1987): 59-107. Eagle, Herbert. ‘Soviet Cinema Today: On the Semantic Potential of a Discredited Canon’, Michigan

Quarterly Review 28.4 (1989): 743-60. Faraday, George. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet

Film Industry. University Park, PA: Pennsylvania State UP, 2000. Galichenko, Nicholas. Glasnost: Soviet Cinema Responds. Austin: U of Texas Press, 1991. Graham, Seth. ‘Chernukha and Russian Film’, Studies in Slavic Culture 1 (2000): 9-27. Horton, Andrew and Michael Brashinsky. The Zero Hour: Glasnost and Soviet Cinema in Transition.

Princeton: Princeton UP, 1992. Kepley, Vance (ed). ‘Contemporary Soviet Cinema’ [special issue], WideAngle 12.4 (1990). Larsen, Susan. ‘In Search of an Audience: The New Russian Cinema of Reconciliation’ in Barker, A. (ed)

Consuming Russia: Popular Culture, Sex, and Society since Gorbachev. Durham: Duke UP, 1999, pp. 192-216.

—.‘Melodramatic Masculinity, National Identity, and the Stalinist Past in Postsoviet Cinema’, Studies in 20th Century Literature 24.1 (2000): 85-120.

Lawton, Anna. Kinoglasnost: Soviet Cinema in Our Time. Cambridge: Cambridge UP, 1992. Menashe, Louis. ‘Moscow Believes in Tears: The Problems (and Promise?) of Russian Cinema in the

Transition Period’, Cineaste 26.3 (2001): 1017. Plakhov, Andrei. ‘Soviet Cinema into the 90s’, Sight and Sound 2 (1989): 80-85. Ratchford, Moira. ‘Post-Glasnost Shock in the Russian Film Industry: The Euphoria is Past. Now Comes

the Tough Part’, New Outlook 3.1-2 (1992): 102-14.


Sandomirskaia, Irina. ‘A glossolalic glasnost and the re-tuning of the Soviet subject: sound performance in Kira Muratova’s Asthenic Syndrome’, Studies in Russian and Soviet Cinema 2.1 (2008): 63-83.

Widdis, Emma. ‘An Unmappable System: The Collapse of Public Space in Late Soviet Film’, Film Criticism 21.2 (1996-7): 8-24.

Woll, Josephine and Denise Youngblood. Repentance (KinoFile 4). London: I.B. Tauris, 2001. Youngblood, Denise. ‘Repentance: Stalinist terror and the realism of surrealism’, in R. Rosenstone (ed)

Film and the Construction of a New Past, Princeton: Princeton UP, 1995, pp. 139-154. Zhabskii, M. (ed). Ispytanie konkurentsiei: Otechestvennoe kino i novoe pokolenie zritelei. Moscow:

VNII Kinoiskusstva, 1997. Zvonkine, Eugénie. ‘The structure of the fairy tale in Kira Muratova’s The Sentimental Policeman’,

Studies in Russian and Soviet Cinema 1.2 (2007): 131-145. POST SOVIET CINEMA Beumers, Birgit ‘Cinemarket, or the Russian Film Industry in “Mission Possible”’, Europe-Asia Studies

51.5 (1999): 871-896. —. ‘Mikhalkov: The Barber of Siberia’, in Forbes (ed) European Cinema, London: Palgrave, 2000, pp.

195-206. —. Burnt by the Sun (KinoFile 3). London: I.B. Tauris, 2000. —. (ed). Russia on Reels: The Russian Idea in Post-Soviet Cinema. London: I.B. Tauris, 1999. Beumers, Birgit and Vladimir Padunov (eds). KinoKultura, on line journal at http://www.kinokultura.com Gillespie, David. ‘Identity and the past in recent Russian cinema’, in Everett, Wendy (ed) European

Identity in Cinema. Exeter: UP, 1996, PP. 53-60. —. ‘Confronting imperialism: the ambivalence of war in post-Soviet film’, in Military and Society in

Post-Soviet Russia, ed Stephen Webber and Jenny Mathers, Manchester: Manchester UP, 2006, pp. 80-93.

Harte, Tim. ‘A Visit to the Museum: Aleksandr Sokurov’s Russian Ark and the Framing of the Eternal’, Slavic Review 64.1 (2005): 43-58.

Hashamova, Yana. Pride and Panic: Russian Imagination of the West in Post-Soviet Film. Bristol and Chicago: Intellect Books, 2007.

Jameson, Fredric. ‘History and Elegy in Sokurov’, Critical Enquiry 33 (2006): 1-12. Kujundzic, Dragan. ‘After “after”: The Arkive Fever of Alexander Sokurov’, Quarterly Review of Film

and Video 21 (2004): 219-239. Larsen, Susan. ‘National Identity, Cultural Authority and the Post-Soviet Blockbuster: Nikita Mikhalkov

and Aleksei Balabanov’, Slavic Review 62.3 (2003): 491-511. Lawton, Anna. Imaging Russia 2000. Film and Facts. Washington: New Academia Publ., 2004. Livers, Keith A. ‘Empty is my native land: The problem of the absent center in Aleksandr Zel’dovich’s

Moscow’, Russian Review 64 (2005): 422-39. Norris, Stephen. ‘Tsarist Russia, lubok style: Nikita Mikhalkov’s Barber of Siberia (1999) and post-

Soviet national identity’, Historical Journal of Film, Radio and Television 25.1 (2005): 101-118 —. ‘Guiding stars: the comet-like rise of the war film in Putin’s Russia’, Studies in Russian and Soviet

Cinema 1.2 (2007): 163-189. Prokhorova, Elena. ‘Can the Meeting Place be Changed? Crime and Identity Discourse n Russian

Television Series of the 1990s’, Slavic Review 62.3 (2003): 512-524. Stishova, Elena. Territoriia kino: Postsovetskoe desiatiletie. Moscow: Pomatur, 2001. Szaniawski, Jeremi. ‘Historic space in Sokurov’s Moloch, Taurus and The Sun’, Studies in Russian and

Soviet Cinema 1.2 (2007): 147-162. Youngblood, Denise .‘The Cosmopolitan and the Patriot: The Brothers Mikhalkov-Konchalovsky and

Russian Cinema’, Historical Journal of Film, Radio & Television 23.1 (2003): 27-41.

Cinema

Documents

Transcript of Cinema