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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. . Filmy Rossii. Igrovoe kino. 1995-2000. Moscow: Dubl D, 2001. . Filmy 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 folklora, 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, 19002001. 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.

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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. Gnther, Hans and Evgenii Dobrenko (eds). Sotsrealisticheskii kanon. St. Petersburg: Akademicheskii proekt, 2000. Gnther, Hans and Sabine Hnsgen (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. Martins 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. Mylnikova, S. Skovorodnikova, Iu. Tsivian, and R. Iangirov (eds). Velikii Kinemo: Katalog sokhranivshikhsia igrovykh fil'mov Rossii, 1908-1919. Moscow: Novoe literaturnoe obozrenie, 2002.

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McReynolds, Louise. The Silent Movie Melodrama: Evgenii Bauer Fashions the Heroines 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 Russias 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 filmy 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. Filmy. 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.

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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 Eisensteins 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 tudes 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.

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.Film as political football: The Goalkeeper, Studies in Russian and Soviet Cinema 1.3 (2007): 283297. Holmgren, Beth. The Blue Angle and Blackface: Redeeming Entertainment in Aleksandrovs Circus, Russian Review 66 (2007): 5-22. Hutchings, Stephen. Tchapaiev: lhomme de tous les temps, lhomme 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 Traubergs 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. Loeil 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 Alexandrovs Circus: Seventy Years of the great Family, Russian Review 66 (2007): 14. Riley, John. Dmitri Shostakovich. (Kino Companion 3). London: I.B. Tauris, 2005. Salys, Rimgaila. Art Deco Aesthetics in Grigorii Aleksandrovs The Circus, Russian Review 66 (2007): 23-35. Schmulevitch, ric. Ralisme socialiste et cinma: Le cinma 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 Aleksandrovs The Circus, Slavic and East European Review 74.4 (1996): 601-620. . Singing on the Steppes for Stalin: Ivan Pyrev 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.

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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 Kvirikadzes The Swimmer, Studies in Russian and Soviet Cinema 1.3 (2007): 299-327. Gromov, E. Komedii i ne tolko komedii. Moscow: Soiuz kinematografistov SSSR, 1989. Hutchings, Stephen. Word and Image in Eldar Riazanovs 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. Cinma sovitique: de Khrouchtev 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 Gaidais and Eldar Riazanovs 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.

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Quart, Barbara. Between Mysticism and Materialism: The Films of Larisa Shepitko, Cineaste 16.3 (1988): 4-11. Rifkin, Benjamin. The Christian subtext in Bykovs uelo, 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. ldar 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.

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