4.10.1. Russian and Soviet Filmmakers: A-D

Abdrashitov, Vadim (1945- ):

• Andreeva, O. “Otechestvennoe kino v litsakh: Vadim Abdrashitov — Aleksandr Mindadze.” Kinograf 5 (1998): 34-73.
• Anninskii, Lev and Andrei Shemiakin. “Vremia tantsora.” Seans 16 (1997): 98-101.
• Astaf’ev, Viktor, et al. “Posleslovie.” Iskusstvo kino 5 (1998): 50-67.
• Barisone, Luciano. “Il dritto e il rovescio: La chimica della vita secondo Vadim Abdrasitov.” Vadim Abdrasitov. Ed. Eugenia Gaglianone, Fiammetta Girola, and Bruno Fornara. Bergamo: Media, 2000. 11-20.
• Condee, Nancy. “Vadim Abdrashitov-Aleksandr Mindadze: A Community of Somnabulists.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 141-158.
• Condee, Nancy and Vladimir Padunov. “Recent Soviet Cinema and Public Responses: Abdrashitov and German.” Framework 29 (1985): 42-58.
• Fornara, Bruno. “Balli boschi mare padrone servo treni.” Vadim Abdrasitov. Ed. Eugenia Gaglianone, Fiammetta Girola, and Bruno Fornara. Bergamo: Media, 2000. 63-71.
• Gaglianone, Eugenia. “La messinscena della vista: Intervista a Vadim Abdrasitov.” Vadim Abdrasitov. Ed. Eugenia Gaglianone, Fiammetta Girola, and Bruno Fornara. Bergamo: Media, 2000. 21-46.
• Gaglianone, Eugenia, Fiammetta Girola, and Bruno Fornara, eds. Vadim Abdrasitov. Bergamo: Media, 2000.
• Maslova, L. “Shest’ siuzhetov v poiskakh smysla.” Iskusstvo kino 2 (1998): 24-33.
• Mindadze, Aleksandr. Ostanovilsia poezd: kinostsenarii. Moskva: Iskussto, 1983.
• –. Vremia tantsora. Vremia tantsora: kinopovesti. Moskva: AST-LTD, 1997: 3-63,
• Padunov, Vladimir. “Alienation and the Everyday: The Films of Aleksandr Mindadze and Vadim Abdrashitov.” Newsletter 19 March 1987 (Institute of Current World Affairs, Hanover, New Hampshire): 1-9.
• Shemjakin, Andrej. “Vadim Abdrasitov e Aleksandr Mindadze: venticinque anni di solitudine.” Vadim Abdrasitov. Ed. Eugenia Gaglianone, Fiammetta Girola, and Bruno Fornara. Bergame: Media, 2000. 53-62.

Abuladze, Tengiz (1924-1994):

• Aleinikov, Igor. “Between the Circus and the Zoo.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
• Bozhovich, Viktor, comp. Pokaianie. Seriia “Ot zamysla k fil’mu.” Moskva: Kinotsentr, 1998.
• Ivanova, Valentina. “Abuladze.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 205-215.
• Khloplyankina, Tatyana. “On the Road That Leads to the Truth.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
• Tugushi, S. “Eshche odin urok Tengiza Abuladze.” Kino: Metodologicheskie issledovaniia. Ed. V.M. Murian. Moskva: VGIK, 2001. 187-190.
• Woll, Josephine and Denise J. Youngblood. “Repentance: The Film Companion.” KINOfiles Film Companion 4. London: I.B. Taurus, 2001.
• Youngblood, Denise. “Repentance: Stalinist Terror and the Realism of Surealism.” Revisioning History: Film and the Construction of a New Past. Ed. Robert A. Rosenstone. Princeton: princeton UP, 1995. 139-54.

Aleinikov, Igor’ (1962-1994):

• Aleinikov, Igor’. Dnevnik. Moskva: Cine Fantom, 1999.

Aleksandrov, Grigorii (1903-1983):

• Aleksandrov, Grigorii. Epokha I kino. Moskva: Politizdat, 1983.
• Clark, Katerina. “‘Chtoby tak pet’, dvadtsat’ let uchit’sia nuzhno…’: Sluchai Volgi-Volgi.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 371-390.
• Dobrenko, Evgeny. “Soviet Comedy Film: or, the Carnival of Authority.” Trans. Jesse M. Savage. Discourse 17.3 (Spring 1995): 49-57.
• Entsensberger, Mariia. “Skazka i byl’ v sovetskoi muzykal’noi komedii: Svetlyi put’ G. V. Aleksandrova.” Kinovedcheskie zapiski. 13 (1992):107-119.
• Enzensberger, Maria. “‘We Were Born to Turn a Fairy Tale Into Reality’–Grigorii Aleksandrov’s The Radiant Path.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
• Holmgren, Beth. “The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus.” Russian Review 66.1 (January 2007): 5-22.
• Lahusen, Thomas. “Ot nesinkhronizirovannogo smekha k post-sinkhronizovannoi komedii, ili Kak stalinskii miuzikl dognal i peregnal Gollivud.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 342-357.
• Prokhorov, Alexander. “Revisioning Aleksandrov’s Circus: Seventy Years of the Great Family.” Russian Review 66.1 (January 2007): 1-4.
• Ratchford, Moira. “Circus of 1936: Ideology and Entertainment Under the Big Top.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
• Saakov, Iurii. “Volshebnye grezy: Ob odnom nesniatom fil’me G. Aleksandrova.” Kinograf 11 (2002): 206-216.
• Salis, Rimgaila. “U ustokov Volgi-Volgi.” Kinovedcheskie zapiski 76 (2005): 314-343.
• Salys, Rimgaila. “Art Deco Aesthetics in Grigorii Aleksandrov’s The Circus.” Russian Review 66.1 (January 2007): 23-35.
• –. The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters. London: Intellect Books, 2009.
• Sargeant, Amy. “Le Printemps (1947) de Grigori Alexandrov.” In Le Cinéma “stalinien”: Questions d’histoire. Ed. Natacha Laurent. Toulouse: Presses Universitaires de Mirail, 2003. 181-189.
• Stishova, Elena. “Prikliucheniia Zolushki v strane bol’shevikov.” Frauen in der Kultur: Tendenzen in Mittel- und Osteuropa. Ed. Christine Engel und Renata Reck. Innsbruck: Wach der Wende, 2000. 233-242.
• Swallow, Norman. “Alexandrov.” Sight and Sound 48.4 (Autumn 1979): 246-49.
• Taylor, Richard. “But eastward, look, the land is brighter: towards a topographyy of utopia in the Stalinist musical.” 100 Years of European cinema: Entertainment or ideology? Ed. Diana Holmes and Alison Smith. Manchester: Manchester UP, 2000. 11-26.
• —. “K topografii utopii v stalinskom miuzikle.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 358-370.
• Turovskaia, Maia. “Mosfil’m–1937.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 277-294.
• Turovskaya, Maya. “The Strange Case of the Making of Volga, Volga.” Trans. Andrew Andreyev. Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
• Woll, Josephine. “Under the Big Top: America Goes to the Circus.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 68-80.
• Zorkaia, Neia. “Tsirk i sverkaiushchie geroini Liubovi Orlovoi.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 109-130.

Alov, Aleksandr (1923-1983) and Naumov, Vladimir (1927- ):

• Alova, L. V., compl. Alov i Naumov. Stat’i. Svidetel’stvo. Vyskazyvaniia. Moskva: Iskusstvo, 1989.

Andreichenko, Natal’ia (1956 – ):

• Furman, Yelena. “Shamara: writing and screening the female body.” Studies in Russian and Soviet Cinema 2.2 (2008): 167-181.

Armenfil’m [Studio] named for A. Bek-Nazarov]:

1923: Goskino
autumn 1923: Gosfotokino
1928: Armenkino
1938: Erevan Film Studio
1957: Armenfil’m
1966: addition of “named for A. Bek-Nazarov”

• Gasparian, Al’bert, ed. Kino Armenii. Moskva: Kron-Press, 1994.

Askol’dov, Aleksandr (1937- ):

• Andrew, Joe. “Birth equals rebirth? Space, narrative and gender in The Commissar“. Studies in Russian and Soviet Cinema. 1.1 (2007): 27-44.
• Barratt, Andrew. “In the Name of the Father: The Eisenstein Connection in Films by Tarkovsky and Askoldov.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 148-160.
• Glaessner, Verina. “Komissar (The Commissar).” Monthly Film Bulletin 56 (1989): 140-1.
• Roberts, Graham. “The sound of silence: from Grossman’s Berdichev to Askol’dov’s Commissar.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 89-99.
• Stishova, Elena. “The Mythologization of Soviet Woman: The Commissar and Other Cases.” Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era. Ed Lynne Attwood. London: Pandora, 1993.
• –. “Passions Over Commissar.” Contemporary Soviet Cinema. Ed. Vance Kepley, Jr. WideAngle 12.4 (October 1990): 62-75.
• Turovskaya, Maya. “Commissar.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

Astrakhan, Dmitrii (1957- ):

• Graffy, Julian. “Dmitri Astrakhan: Popular Cinema for a Time of Uncertainty.” Russia on Reels: The Russian Idea in Post-Soviet Cinema. Ed. Birgit Beumers. London: I.B. Tauris, 1999. 161-178.
• Prokhorova, Elena. “Challenging Nostalgic Imagination: The Case of Dmitry Astrakhan.” Slavic and East European Journal 48.3 (Fall 2004): 421-437.

Babel’, Isaak (1894-1941):

• Babel’, Isaak. Bluzhdaiushchie zvezdy: kino-stsenarii. Moskva: Kinopechat’, 1926.

Babochkin, Boris (1904-1975):

• Babochkin, Boris. Vospominaniia. Dnevniki, Pis’ma. Moskva: Materik, 1996.

Balabanov, Aleksei (1959):

• “Aleksei Balabanov: portret.” Seans 17-18 (1999): 217-228.
• Anemone, Anthony. “About Killer, Freaks, and Real Men: The Vigilante Hero of Aleksei Balabanov’s Film.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 127-141.
• Balabanov, Aleksei. Brat, Brat-2, i drugie fil’my. Moskva: AST i SPb: Astrel’ SPb, 2005.
• –. Gruz 200 i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.
• Condee, Nancy. “Aleksei Balabanov: The Metropole’s Death Drive.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 217-236.
• Larsen, Susan. “National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleskei Balabanov.” Slavic Review 62.3 (Fall 2003): 491-511.
• Lipovetsky, Mark. “Post-Sots: Transformations of Socialist Realism in the Popular Culture of the Recent Period.” Slavic and East European Journal 48.3 (Fall 2004): 356-377.
• Tippner, Anja. “Selbstjustiz als Ausdruck von Gewalt im russischen Film der neunziger Jahre: A. Balabanovs Brat 1 + 2 und K. Muratovas Tri istorii. Der Welt der Slaven 48, 2003: 321-334.

Balaian, Roman (1941- ):

• Bogomolov, Iu. A. “Roman Balaian.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986. 3-5.

Barnet, Boris (1902-1965):

• Albera, François. Boris Barnet: Ecrits, documents, études, filmographie. Locarno: Editions du Festival international du film, 1985.
• Eisenschitz, Bernard. “A Fickle Man, or Portrait of Boris Barnet as a Soviet Director.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.
• Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
• Kushnirov, Mark. Zhizn’ i film’y Borisa Barneta. Moskva: Iskusstvo, 1977.
• Margolit, E. Ia. “Barnet i Eizenshtein v kontekste sovetskogo kino.” Kinovedcheskie zapiski 17 (1993): 165-80.
• Murashov, Iurii. “Slepye geroi–slepye zriteli: O statuse zreniia i slova v sovetskom kino.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 412-426.
• Ostrovskii, D.V. “Boris Barnet: Mutatsiia kul’turnogo soznaniia kontsa 20-kh godov.” Kinovedcheskie zapiski. 22 ((1994): 91-133.
• Youngblood, Denise. “Boris Barnet, Soviet actor/Soviet director.” Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. By Denise Youngblood. NY: Cambridge UP, 1992.
• Zorkaia, Neia. “Devushka s korobkoi, prochie devushki i neotrazimyi Boris Barnet za kadrom.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 65-78.

Bashirov, Aleksandr (1955- ):

• Maslova, L. “Aleksandr B., sidiashchii na trube.” Iskusstvo kino 11 (1998): 51-57.

Bauer, Evgenii (1865-1917):

• Bridgett, Rob. “The Thematic and Stylistic Unity Inherent in the Films of Evgenii Bauer.” http:www3telus.net/kbridget/bauer.htm
• Gromov, E. “Dekorativnoe masterstvo Evgeniia Bauera.” Voprosy kinoiskusstva 18 (1976). Moskva: Nauka, 1976. 285-303.
• Korotkii, V.M. “Evgenii Bauer: Predistoriia kinorezhissera.” Kinovedcheskie zapiski. 10 (1991): 43-59.
• –. “Vozvrashchaias’ k publikatsii o Bauere, ili metodologiia oshibki.” Kinovedcheskie zapiski. 12 (1991): 237-243.
• McReynolds, Louise. “Home Was Never Where the Heart Was: Domestic Dystopias in Russia’s Silent Movie Melodramas.” Imitations of Life: Two Centuries of Melodrama in Russia. Ed. Louise McReynolds and Joan Neiberger. Durham: Duke UP, 2002: 127-151.
• —. “The Silent Movie Melodrama: Evgenii Bauer Fashions the Heroine’s Self.” Self and Story in Russian History. Ed. Laura Engelstein and Stephanie Sandler. Ithaca: Cornell UP, 2000. 120-140.
• Morley, Rachel. “‘Crime without punishment’: reworkings of nineteenth-century Russian literary sources in Evgenii Bauer’s Child of the Big City. Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 27-43.
• —. “Gender Relations in the Films of Evgenii Bauer.” The Slavonic and East European Review 81.1 (January 2003): 33-69.
• Robinson, David. “Evgeni Bauer and the Cinema of Nikolai II.” Sight & Sound (Winter 1989/1990): 51-55.
• Schlüpmann, Heide. “From Patriarchal Violence to the Aesthetics of Death: Russian Cinema 1909-1919 (Pordenone, 1989).” Cinefocus 2.2 (Spring 1992): 2-9.
• Tsivian, Yury. “Cutting and framing in Bauer’s and Kuleshov’s films.” Kintop (1993): 103-113.
• –. “The Invisible Novelty: Film Adaptations in the 1910s.” A Companion to Literature and Film. Ed. Robert Stam and Alessandra Raengo. Malden: Blackwell, 2004. 92-111.
• –. “Two ‘stylists’ of the teens: Franz Hofer and Yevgenii Bauer.” A Second life: German cinema’s first decades. Ed. Thomas Elsaesser. Amsterdam: Amsterdam UP, 1996.

Bekmambetov, Timur (1962- ):

• Campbell, Thomas H. “Five Theses About Timur Bekmambetov’s Day Watch.” KinoKultura 12 (April 2006).
• Kuprianov, B. and M. Surkov, eds. Dozor kak simptom: Kul’turogicheskii sbornik. Moskva: Falanster, 2006.
• Norris, Stephen. “In the Gloom: The Political Lives of Undead Bodies in Timur Bekmambetov’s Night Watch.” KinoKultura 16 (April 2007).

Belye Stolby Archival Film Festival: (see also Gosfil’mofond)

• Malyshev, Vladimir. Gosfil’mofond: Zemlianichnaia poliana. Moskva: Pashkov Dom, 2005.
• Padunov, Vladimir. “Storing and Restoring History: Gosfil’mofond and the 10th Belye Stolby Archival Film Festival.” KinoKultura 12 (April 2006).

Bobrova, Lidiia (1952- ):

• Bobrova, Lidiia. “Blagopoluchnaia Verkola.” Iskusstvo kino 5 (1998): 29-33.
• Iensen, T. “Byt’ da byt’.” Iskusstvo kino 5 (1998): 18-29.
• Sirivlia, Natal’ia and Mikhail Trofimenkov. “V toi strane.” Seans 16 (1997): 86-89.

Bodrov, Sergei (1948- ):

• Andrew, Joe. “‘I love you, dear captive’: gender and narrative in versions The Prisoner of the Caucasus.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 181-193.
• Arkus, Liubov’, Aleksandr Timofeevskii, Marina Drozdova, and Andrei Plakhov. “Kavkazskii plennik.” Seans 15 (1997): 30-39.
• Barrett, Thomas M. “Southern Living (In Captivity): The Caucasus in Russian Popular Culture.” Journal of Popular Culture 31.4 (1998): 75-81.
• Bodrov, Sergei. “Cross-Eyed Sasha” (screenplay for SER–Svoboda eto rai). Studies in Russian and Soviet Cinema 1.1 (2007): 69-109.
• Gerould, Daniel. “Eastern European Bear Hugs: Cinema, Theatre, Opera.” Slavic and East European Performance: Drama, Theatre, Film 25.1 (Winter 2005): 48-71.
• Goncharenko, O. “Kavkazskii plennik: Pressa fil’ma.” Dos’e prem’ery. Chital’nyi zal 4 (1996): 183-193.
• Graffy, Julian. “Soldier, Soldier.” Sight and Sound 8.3 (1998): 34-35.
• Michaels, Paula. “Prisoners of the Caucasus: From Colonial to Postcolonial Narrative.” Russian Literature on the Silver Screen. Russian Studies in Literature. 40.2 (Spring 2004): 52-77.
• Zimmerman, Carlota. “War Without Peace.” Russian Life. Feb 1997: 10-11.

Bodrov, Sergei, Jr. (1971-2002):

• Arkus, Liubov’ and Konstantin Shavlovskii, eds. Sviaznoi: [Kinostsenarii]. SPb: Seans / Amfora, 2007.

Bondarchuk, Sergei (1920-1994)

• Baraban, Elena. “The Fate of a Man by Sergei Bondarchuk and the Soviet Cinema of Trauma.” Slavic and East European Journal 51.3 (Fall 2007): 514-534.
• Palatnikova, Ol’ga, comp. Sergei Bondarchuk v vospominaniiakh sovremennikov. Moskva: EKSMO, 2003.
• Tiurin, Iurii. “Khudozhestvennyi mir Sholokhova i kino” in Perspektiva pamiati. Moskva: Materik, 2004. 64-142.
• —. “Posledniia bitva Napoleona” in Perspektiva pamiati. Moskva: Materik, 2004. 52-63.

Burliaev, Nikolai (1946- )

• Burliaev, Nikolai. Odolevaia radost’iu stradan’ia. Moskva: Algoritm, 2003.

Bykov, Rolan (1929-1998):

• Condee, Nancy and Vladimir Padunov. “Children At War: Films by Gubenko, Evtushenko, and Bykov.” Framework 30/31 (1986): 16-35.
• Condee, Nancy. “Scarecrow: Public and Private Responses.” Newsletter 6 (March 1985). Hanover: Institute of Current World Affairs: 1-7.
• Eagle, Herbert. “Soviet Cinema Today: On the Semantic Potential of a Discredited Canon.” Michigan Quarterly Review 28.4 (Fall 1989): 743-60.
• Gershkovich, Alexander. “Scarecrow and Kindergarten: A Critical Analysis and Comparison.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
• Rifkin, Benjamin. Semiotics and Narration in Film and Prose Fiction: Case Studies of Scarecrow and My Friend Ivan Lapshin. Russian and east European Studies in Aesthetics and the Philosophy of Culture 2. NY: Peter Lang, 1994.

Cherkasov, Nikolai (1903-1966):

• Cherkasov, Nikolai. Notes of a Soviet Actor. Trans. G. Ivanov-Mumjiev and S. Rosenberg. Moskva: Foreign Languages Publishing House, nd.
• Ivanova, Valentina. “Cherkasov.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 167-171.
• Parfenov, Lev. Nikolai Cherkasov. Moskva: Materik, 2003.

Chernenko, Miron (1931-2004):

• Chernenko, Miron. Krasnaia zvezda, zheltaia zvezda: Kinematograficheskaia istoriia evreistva v Rossii. Vinnitsa: Globus-Press, 2001). (rpt: Moskva: Tekst, 2006).
• Kompanichenko, G. and O. Reiezen, comp. Prosto Miron. Moskva: Materik, 2006.

Chiaureli, Mikhail (1894-1974):

• Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
• Lars, Karl. “‘Von Helden und Menschen…’: Der Zweite Weltkrieg in Sowjetischen Spielfilm und dessen Rezeption in der DDR, 1945-1964.” Diss. Tübingen. 2002.
• Laurent, Natacha. “Deconstructing Stalin in Mikhail Chiaureli’s Kliatva (1946).” First International African Film and History Conference 6-8 July 2002.
• Manevich, Iosif. Narodnyi artist SSSR Mikhail Chiaureli. Moskva: Goskinoizdat, 1953.
• Musina, Milena. “Gipoteza: Mikhail Chiaureli i Kliatva kak popytka sozdaniia igrovoi situatsii.” Tiani-Tolkai 2 (1994): 39-55.
• Taylor, Richard. “The Fall of Berlin.” Film Propaganda: Soviet Russia and Nazi Germany. 2^nd rev. ed. London: Taurus, 1998.

Chukhrai, Grigorii (1921-2001):

• Chukhrai, Grigorii. Moe kino. Moskva: Algoritm, 2002.
• Ezhov, Valentin. “Ballada o soldate.” Beloe solntse pustyni. Ekaterinburg: Lad’, 1994. 7-68.
• Shneiderman, Isaak. Grigorii Chukhrai. Moskva: Iskusstvo, 1965.

Daneliia, Georgii (1930- ):

• Daneliia, Georgii. Bezbiletnyi passazhir. Moskva: Eksmo, 2003.
• –. Dzhentl’meny udachi i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2008.
• Demin, Viktor. Georgii Daneliia. Moskva: Soiuzinformkino, 1986.
• Krasnova, G.V., ed. Georgii Daneliia: Sbornik. Moskva: Iskusstvo, 1982.

Donskoi, Mark (1901-1981):

• Dobrenko, Evgenii. “Tri materi.” Iskusstvo kino 8 (2000): 96-111.
• Turovskaia, Maia. “Mark Donskoi v dvoinom svete.” Kinovedcheskie zapiski 13 (1982): 45-51.

Dovzhenko, Aleksandr (1894-1956):

• Anninskii, Lev. “Khrust iabloka.” Kinovedcheskie zapiski 23 (1994): 167-170.
• Aronson, O.V. “Kinoantropologiia Zemli.” Kinovedcheskie zapiski 23 (1994): 141-148.
• Aronson, Oleg. “Poiski antropologii: Zemlia i svet Aleksandra Dovzhenko.” Metakino. Moskva: Ad Marginem, 2003. 39-51.
• Barabas, Iurii. Dovzhenko: Nekotorye voprosy estetiki i poetiki. Moskva: Khudozhestvennaia literatura, 1968.
• Burns, Paul E. “Cultural Revolution, Collectivization, and Soviet Cinema: Eisenstein’s Old and New and Dovzhenko’s Earth.” Film and History 11.4 (December 1981): 84-105.
• Carynnyk, Marco. “Collective Dreams.” Undercurrent 2 (7, 2006).
• Depretto, Catherine. “Chtchors (1939) d’Alexandre Dovjenko.” In Le Cinéma “stalinien”: Questions d’histoire. Ed. Natacha Laurent. Toulouse: Presses Universitaires de Mirail, 2003. 167-179.
• Deriabin, A.S. “Poteria i obretenie nemoty.” Kinovedcheskie zapiski 23 (1994): 181-185.
• Dobrenko, Evgenii. “Seiatel’ vetra: ‘tvorimoe prostranstvo’ Aleksandra Dovzhenko.” Iskusstvo kino 9, 1997: 59-73.
• Dobrenko, Evgeny. “Creation Myth and Myth Creation in Stalinist Cinema.” Studies in Russian and Soviet Cinema 1.3 (2007): 239-264.
• Dovzhenko, Aleksandr. Sobranie sochinenii v chetyrekh tomakh. Moskva: Iskusstvo, 1966-1969.
• Dovzhenko, Alexander. “Earth: a film by Dovzhenko.” Two Russian Film Classics. Classic Film Scripts. NY: Simon and Schuster, 1973. 55-102.
• –. The Poet as Filmmaker: Selected Writings. Tr. Marco Carynnyk. Boston: MIT P, 1973.
• Filimonov, V.P. “Vtoroe prishestvie, ili Bessmertie utopii.” Kinovedcheskie zapiski 23 (1994): 170-174.
• Gillespie, David. “Alexander Dovzhenko: Ukrainian Natuonalist Cinema”. Early Soviet Cinema: Innovation, Ideology and Propaganda. By David Gillespie. London: Wallflower Pub., 2000. 83-92.
• Gurko, S.L. “Fonogramma fil’ma Zemlia.” Kinovedcheskie zapiski 23 (1994): 185-188.
• Iakimovich, A.K. “Dovzhenko i ‘novaia pervobytnost’.” Kinovedcheskie zapiski 23 (1994): 137-141.
• Kepley, Vance, Jr. In the Service of the State: The Cinema of Alexander Dovzhenko. Madison: U of WI P, 1986.
• Korohodsky, Roman. Dovzhenko v Poloni: rozvidky ta eseï pro maistra. Kyiv: Helicon, 2000.
• Kuz’menko, E.M. “Sotsializm i religiia prirody v fil’me Dovzhenko Zemlia.” Kinovedcheskie zapiski 23 (1994): 174-177.
• Liber, George O. “Adapting to the Stalinist Order: Alexander Dovzhenko’s Psychologfical Journey, 1933-1953.” Europe–Asia Studies 53.7 (2001): 1097-1116.
• —. Alexander Dovzhenko: A Life in Soviet Film. London: BFI, 2002.
• —. “Death, Birth, Order and Alexander Dovzhenko’s Cinematic Visions.” Kinema 13 (2000): 57-74.
• —. “Dovzhenko, Stalin, and the (Re)creation of Shchors.” Harvard Ukrainian Studies 21.3-4 (1997): 271-286.
• —. “‘Till Death Do You Part’: Varvara Krylova, Yuliya Solntseva and Oleksandr Dovzhenko’s Muse.” Australian Slavonic and East European Studies 14.1-2 (2000): 75-97.
• Margolit, Evgenii. “Postroenie sotsializma ekrannymi sredstavami.” Kinovedcheskie zapiski 23 (1994): 107-111.
• Marshall, Herbert. Masters of the Soviet Cinema: Crippled Creative Biographies. London: Routledge and Kegan Paul, 1983.
• Pazhitnova, Liudmila and Iuliia Solntseva, eds. Dovzhenko v vospiminaniiakh sovremennikov. Moskva: Iskusstvo, 1982.
• Rabinovich, V.L. “Vsega–na pervoi stranitse.” Kinovedcheskie zapiski 23 (1994): 122-129.
• Schnitzer, Jean and Luda Schnitzer. Alexandre Dovjenko. Paris: Editions Universitaires, 1966.
• Sergeeva, T.V. “Kompozitsiia poeticheskoi stroki.” Kinovedcheskie zapiski 23 (1994): 177-180.
• Skits, S.V. “Mifologicheskaia struktura Zemli.” Kinovedcheskie zapiski 23 (1994): 180-181.
• Smith, Murray. “The Influence of Socialist Realism on Soviet Montage: The End of St. Petersburg, Fragment of an Empire, and Arsenal.” Journal of Ukrainian Studies 19.1 (1994): 45-65.
• Sobolev, Romil. Aleksandr Dovzhenko. Moscow: Iskusstvo, 1980.
• Trimbach, S.V. “Zvenigora, Arsenal, Zemlia: obraz Messii.” Kinovedcheskie zapiski23 (1994): 129-137.
• Troshin, Aleksandr. “Zemlia i my. Priglashenie k razgovoru.” Kinovedcheskie zapiski 23 (19943): 103-107.

Dykhovichnyi, Ivan (1947- ):

• Hansen, Sabina. “Fantasmagorii sotsrealisticheskogo kanona.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 427-439.
• Larsen, Susan. “Melodramatic Masculinity, National Identity, and the Stalinist Past in Postsoviet Cinema.” Studies in 20th Century Literature: Russian Culture of the 1990s (Ed. Helena Goscilo) 24.1 (Winter 2000): 85-120.
• Timofeevskii, Aleksandr et al. “Prorva.” Seans 9 (1994): 53.
• Trofimenkov, Mikhail. “Prorva–Prorva.” Seans 9 (1994): 50.
• Zorkaia, Neia. “Ot Kliatvy–k Prorve.” Iskusstvo kino 11 (1992): 3-9.
  

  4.10.2. Russian and Soviet Filmmakers: E-G

  Eisenstein, Sergei (1898-1948):

  • Aksenov, Ivan. Sergei Eizenshtein: portret khudozhnika. Moskva: SK SSSR/Kinotsentr, 1991.
  • Albera, François. “Eisenstein and the Theory of the Photogram.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • –. Eisenstein en Suisse. Lausanne: Travelling/Documents de la Cinémathèque suisse, 1976.
  • –. Eisenstein et le constructivisme russe: dramaturgie de la forme. Lausanne: L’Age d’homme, 1990.
  • –. Notes sur l’esthétique d’Eisenstein. Lyon: Presses Universitaires de Lyon, 1973.
  • Albera, François, ed. Eisenstein dans le texte. Special edition of Cinémas 11.2-3 (spring 2001).
  • Alexandrov, Grigorii. “Working with Eisenstein.” Trans. David Robinson. Ed. Luda & Jean Schitzer and Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.
  • Aumont, Jacques. Montage Eisenstein. Tr. Lee Hildreth, Constance Penley, Andrew Ross. Bloomington: Indiana UP, 1987.
  • Balter, L. “Alexander Nevsky.” Film Culture 70-71 (1983): 43-87.
  • Barna, Yon. Eisenstein. Boston: Little Brown & Co., 1975.
  • Barratt, Andrew. “In the Name of the Father: The Eisenstein Connection in Films by Tarkovsky and Askoldov.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 148-160.
  • Bartlett, Rosamund. “The Circle and the Line: Eisenstein, Florensky, and Russian Orthodoxy.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 65-76.
  • Bergan, Ronald. Sergei Eisenstein: A Life in Conflict. Woodstock, NY: The Overlook P, 1999.
  • Beumers, Birgit. “Bronenosets Potyomkin (The Battleship Potemkin).” European Cinema: An Introduction. Ed. Jill Forbes and Sarah Street. NY: Palgrave, 2000. 53-65.
  • Biltereyst, Daniel. “‘Will we ever see Potemkin?’: The historical reception and censorship of Eisenstein’s Battleship Potemkin in Belgium (1926-32).” Studies in Russian and Soviet Cinema 2.1 (2008): 5-19.
  • Bohn, Anna. Film und Macht: Zur Kunsttheorie Sergei Eisensteins, 1930-1948. Diskurs Film 16. Munich: diskurs film Verlag Schaudig und Ledig, 2003.
  • Bordwell, David. “Eisenstein, Socialist Realism and the Charms of Mizanstsena.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 13-37.
  • —. The Cinema of Eisenstein. Cambridge,MA: Harvard UP, 1993.
  • Bulgakowa, Oksana. “The Evolving Eisenstein.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 38-51.
  • —. Sergei Eisenstein: A Biography. Trans Anne Dwyer. Berlin and San Francisco: PotemkinPress, 2001.
  • –. Sergej Eisenstein–drei Utopien. Architekturentwürfe zur Filmtheorie. Berlin: PotemkinPress, 1996.
  • –. Sergej Eisenstein: Eine Biographie. Berlin: PotemkinPress, 1997.
  • Burns, Paul E. “Cultural Revolution, Collectivization, and Soviet Cinema: Eisenstein’s Old and New and Dovzhenko’s Earth.” Film and History 11.4 (December 1981): 84-105.
  • Carroll, Noël and Sally Banes. “Cinematic Nation-Building: Eisenstein’s The Old and the New.” Cinema and Nation. Ed. Mette Hjort and Scott Mackenzie. London: Routledge, 2000. 121-138.
  • Christie, Ian. “Censorship, Culture, and Codpieces: Eisenstein’s Influence on Britain during the 1930s and 1940s.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 109-120.
  • Christie, Ian and Richard Taylor, eds. Eisenstein Rediscovered. London: Routeldge, 1993.
  • Eagle, Herbert. “Visual Patterning, Vertical Montage, and Ideological Protest: Eisenstein’s Stylistic Legacy to East European Filmmakers.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 169-190.
  • Eisenschitz, Bernard. “Le Proletkult. Eisenstein.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 38-45.
  • Eisenstein, Sergei. “Alexander Nevsky“. Two Films. Ed. Jay Leyda. Trans Diana Matias. NY: Frederick Ungar Pub, 1984.
  • –. The Battleship Potemkin. Trans. Gillon R. Aitken. London: Faber and Faber, 1988.
  • –. Cinématisme: peinture et cinéma. Ed. François Albera. Brussels: Editions Complexe, 1980; Dijon: Les Presses du Réel, 2009.
  • –. Complete Films of Eisenstein. Trans John Hetherington. London: Weidenfeld and Nicholson, 1974.
  • –. The Eisenstein Collection. Ed. Richard Taylor. NY: Seagull Books, 2006.
  • –. Film Form. Tr. Jay Leyda. NY: Harcourt Brace & World, 1949.
  • –. Film Sense. Tr. Jay Leyda. NY: Harcourt Brace & World, 1942.
  • –. Immoral Memories: An Autobiography. Trans. Herbert Marshall. Boston: Houghton Mifflin Co, 1983.
  • –. Ivan the Terrible. NY: Simon and Schuster, 1970.
  • –. Le Mouvement de l’art. Ed. François Albera and Naum Kleiman. Paris: Editions du Cerf, 1986.
  • –. “October (Ten Days that Shook the World).” Two Films. Ed. Jay Leyda. Trans. Diana Matias. NY: Frederick Ungar Pub, 1984.
  • –. Oeuvres I: Au-delà des étoiles. Trans. Jacques Aumont et al. Paris: 10/18, 1978.
  • –. Oeuvres II: La non-indifférente nature. Trans. Luda and Jean Schnitzer. 2 vol. Paris: 10/18, 1976.
  • –. Six Drawings Moskva: Muzei Kino, 1997.
  • –. Volume I: Writings, 1922-1934. Ed. and tr. Richard Taylor. London: BFI, 1988.
  • –. Volume II: Towards a Theory of Montage, 1937-1940. Ed. Michael Glenny and Richard Taylor. Tr. Michael Glenny. London: BFI, 1992.
  • –. Volume III: Writings, 1935-1947. Ed. Richard Taylor. Tr. William Powell. London: BFI, 1996.
  • –. Volume IV: Beyond the Stars. The Memoirs of Sergei Eisenstein. Ed. Richard Taylor. Tr. William Powell. London: BFI, 1995.
  • Eizenshtein, Sergei. Memuary. Ed. Naum Kleiman. 2 vol. Moskva: “Trud” and Muzei kino, 1997.
  • –. Metod. Kniga 1. Moskva: Muzei kino, Eizenshtein-tsentr, 2002.
  • –. Metod Kniga 2. Moskva: Muzei kino, Eizenshtein-tsentr, 2002.
  • –. Montazh. Moskva: VGIK, 1998.
  • –. Montazh. Moskva: Muzei kino, 2000.
  • –. Neravnodushnaia priroda. tom. 1: Chuvstvo kino. Moskva: Muzei kino, Eizenshtein-tsentr, 2004.
  • –. Neravnodushnaia prirod/ tom. 2: O stroenii veshchei. Moskva: Muzei kino, Eizenshtein-tsentr, 2006.
  • –. Psikhologicheskie voprosy iskusstva. Moskva: Smysl, 2002.
  • –. Sobranie sochinenii v shesti tomakh. Moskva: Iskusstvo, 1964-71.
  • Geduld, Harry M. and Ronald Gottesman, eds. The Making and Unmaking of “Que Viva México!” Bloomington: Indiana UP, 1970.
  • Gillespie, David. “Sergei Eisenstein: The Mytho-Poetics of Revolution.” Early Soviet Cinema: Innovation, Ideology and Propaganda. By David Gillespie. London: Wallflower Pub., 2000. 37-58.
  • Goodwin, James. “Eisenstein: Lessons in Hollywood.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 91-108.
  • —. Eisenstein, Cinema, and History. Urbana: U of Illinois P, 1993.
  • Grossi, Edoardo G. “Eisenstein as Theoretician: Preliminary Considerations.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Iampolski, Mikhail. “The Invisible Text as a Universal Equivalent: Sergei Eisenstein.” The memory of Tiresias: Intertextuality and Film. Trans. Harsha Ram. Berkeley: U of CA P, 1998.
  • Iurenev, Rastislav. “Eizenshtein o montazhe.” Montazh. By Sergei Eizenshtein. Moskva: VGIK, 1998.
  • –. “Tragediia Bezhina luga.” Kino: Metodologicheskie issledovaniia. Ed. V.M. Murian. Moskva: VGIK, 2001. 147-170.
  • –. Sergei Eizenshtein: 1898-1929. Moskva: Iskusstvo, 1985.
  • Ivanov, Viacheslav. “Eisenstein et la linguistique structurale moderne.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 46-51.
  • –. “Problema iskusstva po Eizenshteinu i bakhtinskii karnival.” Close-Up: Istoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996-1998 gody. Ed. Aleksandr Troshin. Moskva: VGIK, 1999. 10-19.
  • Johnson, Vida. “Eisenstein and Tarkovsky: A Montage of Attractions.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 161-168.
  • Kenez, Peter. “A History of Bezhin Meadow.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 193-206.
  • Kepley, Vance. “The Evolution of Eisenstein’s Old and New.” Cinema Journal 14.1 (1974): 34-50.
  • Khopkar, Arun. “Graphic Flourish: Aspects of the Art of the mise-en-scéne.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Kinovedcheskie zapiski 36/37 (1997-1998). Special double issue on Sergei Eisenstein.
  • Kleiman, Naum. “Arguments and Ancestors.” Eisenstein Rediscovered. Ed. Ian Christie. London: Routeldge, 1993.
  • –. “Eizenshtein. Bezhin lug (pervyi variant): kul’turno-mifologicheskie aspekty.” Close-Up: Ostoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996-1998 gody. Ed. Aleksandr Troshin. Moskva: VGIK, 1999. 20-37.
  • —. Formula finala: Stat’i, vystupleniia, besedy. Moskva: Eizenshtein-tsentr, 2004.
  • Kozlov, L. K. “Ten’ Groznogo i khudozhnik.” Kinovedcheskie zapiski 15 (1992): 14-47.
  • Kukui, Il’ia. “‘Zhestokii talant’ Sergei Eizenshteina: Tri istochnika i tri sostavnye chasti.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 295-315.
  • Lary, N.M. “Eisenstein and Shakespeare.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • —. “Victor Shklovsky: The Good and Awkward Friend.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 121-128.
  • LaValley, Al. “Maintaining, Blurring, and Transcending Gender Lines in Eisenstein.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 52-64.
  • LaValley, Al and Barry P. Scherr. “Introduction: Rethinking Eisenstein.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 1-9.
  • LaValley, Al and Barry P. Scherr, eds. Eisenstein at 100: A Reconsideration. New Brunswick: Rutgers UP, 2001.
  • Leach, Robert. “Eisenstein’s Theatre Work.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Leyda, Jay and Zina Voynow. Eisenstein at Work. NY: Pantheon Books, 1982.
  • Lövgren, Håhan. “Eisenstein’s October: On the Cinematic Allegorization of History.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 77-88.
  • —. “Eisenstein’s Pushkin Project.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Margolit, E. Ia. “Barnet i Eizenshtein v kontekste sovetskogo kino.” Kinovedcheskie zapiski 17 (1993): 165-80.
  • Marshall, Herbert. Masters of the Soviet Cinema: Crippled Creative Biographies. London: Routledge and Kegan Paul, 1983.
  • –, ed. Sergei Eisenstein’s The Battleship Potemkin. NY: Avon, 1978.
  • Mayer, David. Esienstein’s Potemkin: A Shot-By-Shot Presentation. NY: Da Capo P, 1972 [rpt nd].
  • Mayne, Judith. “Strike and Displaced Vision.” Kino and the Woman Question: Feminism and Soviet Silent Cinema. By Judith Mayne. Columbus: Ohio State UP, 1989. 65-90.
  • Michelson, Annette. “Reading Eisenstein Reading Capital.” October 2 (1976): 27-38.
  • —. “Reading Eisenstein Reading Ulysses: Montage and the Claims of Subjectivity.” Art & Text 34 (1989): 64-78.
  • Mikhailovich, V. I. “O mifologichnosti Bronenostsa ‘Potemkina’.” Kinovedcheskie zapiski 17 (1993): 150-64.
  • Moussinac, Léon. Sergei Eisenstein: An Investigation Into His Films and Philosophy. Trans. D. Sandy Petrey. NY: Crown, 1970.
  • Nesbet, Anne. “Ivan the Terrible and ‘The Juncture of Beginning and End’.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 292-304.
  • —. Savage Junctures: Sergei Eisenstein and the Shape of Thinking. KINO: The Russian Cinema Series. NY: I. B. Tauris, 2003.
  • Neuberger, Joan. “Eisenstein’s Cosmopolitan Kremlin: Drag Queens, Circus Clowns, Slugs, and Foreigners in Ivan the Terrible.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 81-95.
  • –. “The Politics of Bewilderment: Eisenstein’s Ivan the Terrible in 1945.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 227-252.
  • Nizhny, Vladimir. Lessons with Eisenstein. Tr. and ed. Ivor Montagu and Jay Leyda. NY: Hill & Wang, 1992.
  • O’Pray, Michael. “The Frame and Montager in Eisenstein’s ‘Later’ Aesthetics.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Podoroga, Valerii. “Materialy k psikhobiografii S.M. Eizenshteina.” Avto-bio-grafiia: k voprosu o metode. Tetradi po analiticheskoi antropologii 1. Moskva: Logos, 2001. 7-140.
  • Richardson, Paul E. “The First Master of Russian Film.” Russian Life. February 1998: 37-39, 44-46.
  • Ronen, Omry. “Once in a Lifetime: Eisenstein and His Associates as Literary Prototypes in a Novel by Lev Kassil.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 129-135.
  • Ropars, Marie Claire. “The Overture of October,” Enclitic 2.2 (1978) and 3.1 (1979).
  • Roshal’, Lev. Gore umu, ili Eizenshtein i Meierkhol’d: Dvoinoi portret na fone epokhi. Moskva: Materik, 2007.
  • Salazkina, Masha. “Addressing the dialectics of sexual difference in Eisenstein’s Que viva México! Screen 48.1 (Spring 2007): 45-67.
  • –. In Excess: Sergei Eisenstein’s Mexico. Chicago: U of Chicago P, 2009.
  • Scherr, Barry P. “Alexander Nevsky: Film Without a Hero.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 207-226.
  • Selden, Daniel L. “Vision and Violence: The Rhetoric of Potemkin.” Quarterly Review of Film Studies 7.4 (Fall 1982): 308-329.
  • Seton, Marie. Sergei M. Eisenstein. NY: A.A. Wyn, 1953.
  • Seydor, Paul. “Eisenstein’s Aesthetic: A Dissenting View.” Sight and Sound 43.1 (Winter 1973-74): 38-43.
  • Shklovskii, Viktor. Eizenshtein. Moscow: Iskusstvo, 1976.
  • Sirk, Derek and Elena Pinto Simon. “Jay Leyda and Bezhin Meadow.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Stollery, Martin. “Montage, Modernity and Ethnicity.” Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Exeter: U of Exeter P, 2000. 59-99.
  • Swallow, Norman. Eisenstein: A Documentary Portrait. NY: E.P. Dutton, 1977.
  • Taylor, Richard. The Battleship Potemkin. KINOfiles Film Companion 1. London: I.B. Tauris, 2000.
  • –. “Eisenstein on Hollywood.” Studies in Russian and Soviet Cinema 2.2 (2008): 217-238.
  • –. “October” and “Alexander Nevsky.” Film Propaganda: Soviet Russia and Nazi Germany. 2^nd rev. ed. London: Taurus, 1998.
  • Taylor, Richard and Ian Christie, eds. Eisenstein Rediscovered. London: Routledge, 1993.
  • Thompson, Kristin. “Eisenstein’s Early Films Abroad.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • –. Eisenstein’s Ivan the Terrible: A Neoformalist Analysis. Princeton: Princeton UP, 1981.
  • Tsikounas, Myriam. “Eisenstein and the Theory of ‘Models’: or, How to Distract the Spectator’s Attention.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Tsivian, Yuri. “Eisenstein and Russian Symbolist Culture: An Unknown Script of October.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • —. Ivan the Terrible. BFI Film Classics. London: BFI Publishing, 2002.
  • —. “Ivan the Terrible: Eisenstein’s Rules of Reading.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 268-291.
  • Tsiv’ian, Iurii. “‘Bisex’ kak tema i kak khudozhestvennyi priem: k sisteme obrazov v Ivane Groznom Eizenshteina.” Tynianovskii sbornik 11 (2002): 730-747.
  • Turovskaia, Maia. “Mosfil’m–1937.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 277-294.
  • Ulenbrukh, Bernd. “Instsenirovka mifa: O fil’me S. Eizenshteina Aleksandr Nevskii.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 316-327.
  • Vitte, Georg. “Proza teorii: O biografii Sergeia Eizenshteina, napisannoi Viktorom Shklovskim.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 328-341.
  • Woll, Josephine. “Eisenstein’s Barometer of the Thaw.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 136-147.
  • Yampolsky, Mikhail. “The Essential Bone Structure: Mimesis in Eisenstein.” Eisenstein Rediscovered. Ed. Ian Christie and Richard Taylor. London: Routeldge, 1993.
  • Zorkaia, Neie. “Bronenosets Potemkin na reide.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 25-48.
  • Zholkovsky, Alexander. “Generative Poetics in the Writing of Eisenstein.” Film Theory and General Semiotics. Ed. Ann Shukman. Oxford: Russian Poetics in Translation, 1981.
  • –. “Poetika Eizenshteina–dialogicheskaia ili totalitarnaia.” Kinovedcheskie zapiski 16 (1992): 118-39.
  • —. “The Power of Grammar and the Grammar of Power: The Childhood Scenes in Ivan the Terrible.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 253-267.

  Ekk [Ivakin], Nikolai (1902-1976):

  • Kaganovsky, Lilya. “Forging Soviet Masculinity in Nikolai Ekk’s The Road to Life.” Gender and National Identity. Ed. Helena Goscilo and Andrea Lanoux. DeKalb: Northern Illinois UP, 2006. 93-114.
  • Margolit, Evgenii. “Proiskhozhdenie geroia (Putevka v zhizn’ i iazyk narodnoi kul’tury.” Kinovedcheskie zapiski 12 (1991): 74-98.

  Ermler, Fridrikh (1898-1967):

  • Bagrov. Peter. “Ermler, Stalin, and Animation: On the Film The Peasants (1934).” Trans. Vladimir Padunov. KinoKultura 15 (January 2007).
  • Bagrov, Petr. “Zhitie partiinogo khudozhnika.” Seans 35-36 (2008): 316-344.
  • Cassiday, Julie A. “Kirov and Death in The Great Citizen: The Fatal Consequences of Linguistic Mediation.” Slavic Review 64.4 (Winter 2005): 799-822.
  • Ermler, Fridrikh. Dokumenty, stat’i, vospominaniia. Leningrad: Iskusstvo, 1974.
  • Mayne, Judith. “Fragment of an Empire and the Woman in the Window.” Kino and the Woman Question: Feminism and Soviet Silent Cinema By Judith Mayne. Columbus: Ohio State UP, 1989. 130-153.
  • Sepman, I.V., ed. Fridrikh Ermler: dokumenty, stat’i, vospominaniia. Leningrad: Iskusstvo, 1974.
  • Smith, Murray. “The Influence of Socialist Realism on Soviet Montage: The End of St. Petersburg, Fragment of an Empire, and Arsenal.” Journal of Ukrainian Studies 19.1 (1994): 45-65.
  • Tsivian, Yuri and Mikhail Iampol’skii. “La poétique d’un text hétérogène: Débris d’Empire de Friedrikh Ermler.” La licorne 7 (1990): 221-334.
  • Youngblood, Denise. “Cinema as Social Criticism: The Early Films of Fridrikh Ermler.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • –. “Fridrikh Ermler and the Social Problem Film.” Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. By Denise Youngblood. NY: Cambridge UP, 1992.

  Evstigneev, Evgenii (1926-1992):

  • Groisman, Ia.I., comp. Evgenii Evstigneev–narodnyi artist. Nizhnyi Novgorod: Dekom, 1998.

  Evtushenko, Evgenii (1933- ):

  • Condee, Nancy and Vladimir Padunov. “Children At War: Films by Gubenko, Evtushenko, and Bykov.” Framework 30/31 (1986): 16-35.
  • Evtushenko, Evgenii. Detskii sad: kinostsenarii. Moskva: Iskusstvo, 1989.

  FEKS (Factory of the Eccentric Actor):

  See also entries for Iutkevich, Sergei, Kozintsev, Grigorii, and Trauberg, Leonid.

  • Bulgakova, Oksana. “Bul’vardizatsiia avangarda–fenomen FEKS.” Kinovedcheskie zapiski 7 (1990): 27-47.
  • Bulgakowa, Oksana. FEKS: Die Fabrik des Exzentrischen Schauspielers. Berlin: PotemkinPress, 1996.
  • Butovskii, Ia. L. “FEKSy. Moskvin.” Kinovedcheskie zapiski 7 (1990): 122-131.
  • Christie, Ian and John Gillett. Futurism/Formalism/FEKS: “Eccentrism” and Soviet Cinema, 1918-1936. London: British Film Institute, 1978.
  • Kinovedcheskie zapiski 7 (1990). Special issue devoted to FEKS.
  • Levin, E.S. “Meierkhol’d, ekstsentrizm i FEKS (odin iz aspektov problemy).” Kinovedcheskie zapiski 7 (1990): 97-100.
  • Nedobrovo, Vladimir. “L’acteur de la FEKS.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 108-113.
  • Nedobrovo, Vladimir, ed. FEKS: Grigorii Kozintsev. Leonid Trauberg. Intro. Viktor Shklovskii. M-L: Kinopechat’, 1928.
  • Poliwoda, Bernadette. FEKS–Fabrik des exzentristen Schauspielrrs: Vom Exzentismus zur Poetik des Films in der frühen Sowjetkultur. Munich: Verlag Otto Sagner, 1994.
  • Teilor [Taylor], Richard. “Ekstsentrizm kak kul’turnaia revoliutsiia.” Kinovedcheskie zapiski 7 (1990): 11-19.
  • Tsivian, Iurii. “Rannie FEKSy i kul’turnaia tematika 20-kh godov.” Kinovedcheskie zapiski 7 (1990): 20-26.
  • Zhuk, O.A. “Chertovo koleso i gorodskaia kul’tura.” Kinovedcheskie zapiski 7 (1990): 56-61.

  Filatov, Leonid (1946- ):

  • Smekhov, V.B. Portret na fone golosa: Leonid Filatov. Moskva: Kinotsentr, 1991.

  Gaidai, Leonid (1923-1993)

  • Bauman, El. “V chem sila ekstsentriki (Zametki o tvorchestve Leonida Gaidaia.” Kino i vremia. vol. 3. Moskva: Iskusstvo, 1980. 120-144.
  • Frolov, Ivan. V luchakh ekstsentriki. Moskva: Iskusstvo, 1991.
  • Lainer, Lev. Veselaia troitsa. Moskva: Tsentrpoligraf, 2001.
  • Michaels, Paula. “Prisoners of the Caucasus: From Colonial to Postcolonial Narrative.” Russian Literature on the Silver Screen. Russian Studies in Literature. 40.2 (Spring 2004): 52-77.
  • Popsheva, Mariia, Valerii Ivanov, and Vladimir Tsukerman. Gaidai Sovetskogo Soiuza. Moskva: Eksmo, 2002.
  • Prokhorov, Alexander. “Cinema of Attractions versus Narrative Cinema: Leonid Gaidai’s Comedies and El’dar Riazanov’s Satires of the 1960s.” Slavic Review 62.3 (Fall 2003): 455-472.
  • Tsymbal, Evgenii, Natal’ia Varlei, Aleksandr Zatsepin, Iakov Kostiukovskii, Savva Kulish, and Viacheslav Nevinnyi. “Ot smeshnogo do velikogo. Vospominaniia o Leonide Gaidae.” Iskusstvo kino 10 (2003): 109-129.

  Ganiev, Nabi (1904-1953):

  • Abul-Kasymova, Khanzhara. Nabi Ganiev. Tashkent: Ghafur Ghulam, 1968.

  Georgian Cinema

  • Ratiani, Irina. U istokov gruzinskogo kino. Moskva: Ministerstvo kul’tury Rossiiskoi Federatsii, Rossiiskii institut kul’turologii, 2003.

  Gerasimov, Sergei (1906-1985):

  • Gerasimov, Sergei. “Out of the Factory of the Eccentric Actor.” Trans. David Robinson. Ed. Luda & Jean Schitzer and Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.
  • –. Vospitanie kinorezhissera. Moskva: Iskusstvo, 1978.
  • Ivanova, Valentina. “Gerasimov.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 215-221.
  • Rostotskaia, M. and M. Vodenko, eds. Posleslovie: S.A. Gerasimov v vyskazyvaniiakh, vospominaniiakh, pis’makh. Moskva: VGIK, 1996.
  • Tiurin, Iurii. “Khudozhestvennyi mir Sholokhova i kino” in Perspektiva pamiati. Moskva: Materik, 64-142.

  German, Aleksei (1938- ):

  • Aronson, Oleg. “Po tu storonu kino: Khrustalev, mashinu! Alekseia Germana i problema ‘sovetskogo’.” Metakino. Moskva: Ad Marginem, 2003. 218-230.
  • Berezovchuk, Larisa. “Identifikatsiia vremeni (Ob ekrannom voploshchenii istorii, proshlogo i pamiati v fil’makh Alekseia Germana Moi drug Ivan Lapshin i Khrustalev, mashinu).” Kinovedcheskie zapiski 76 (2005): 178-212.
  • Buttafava, Giovanni. “Alexei German, or the Form of Courage.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • Condee, Nancy. “Aleksei German: Forensics in the Dynastic Capital.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 185-216.
  • Condee, Nancy and Vladimir Padunov. “Recent Soviet Cinema and Public Responses: Abdrashitov and German.” Framework 29 (1985): 42-58.
  • Eagle, Herbert. “Soviet Cinema Today: On the Semantic Potential of a Discredited Canon.” Michigan Quarterly Review 28.4 (Fall 1989): 743-60.
  • Forman, Betty Yetta. “The 1930s as Seen from the 1980s: Aleksey German’s My Friend Ivan Lapshin.” Studies in Comparative Communism 21.3/4 (1988): 283-292.
  • German, Aleksey. “My Friend Aleksandr Sokurov.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 30-34.
  • German, Aleksey and Yuri Pavlov. “The Workshop for First Films.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 15-20.
  • Gukasian, F.F. “Aleksei German.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986. 10-12.
  • Gukasyan, Frizheta. “Aleksey German, Three-and-a-Half Films Later.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 27-29.
  • Hoberman, J. “Exorcism: Alexei Guerman among the Long Shadoes.” Film Comment 35.1 (Jan-Feb 1999): 48-53.
  • Mikhailik, Elena. “Sequence of Tenses: Aleksei German’s Film Adaptation of Iurii German’s Lapshin.” Russian Literature on the Silver Screen (II). Russian Studies in Literature. 40.3 (Summer 2004): 32-45.
  • Rifkin, Benjamin. Semiotics and Narration in Film and Prose Fiction: Case Studies of Scarecrow and My Friend Ivan Lapshin. Russian and east European Studies in Aesthetics and the Philosophy of Culture 2. NY: Peter Lang, 1994.
  • Shmarina, L. “Shlagbaum na dorogakh.” Iz proshlogo v budushchee: Proverka na dorogakh. Ed. N. Dymshits and Aleksandr Troshin. Moskva: VNII Kinoiskusstva, 1990. 117-125.
  • Wood, Tony. “Time Unfrozen: The Films of Aleksei German.” New Left Review 7 (Jan-Feb 2001): 99-107.
  • Yampolski, Michail. “From Social Clichés to the Metaphysics of the Body.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 45-49.

  Gogoberidze, Lana (1928- ):

  • Tsereteli, Korina. Lana Gogoberidze. Moskva: SK SSSR/Vsesoiuznoe biuro propagandy kinoiskusstva, 1987.

  Goldovskaia, Marina (1941- ):

  • Goldovskaia, Marina. Zhenshchina s kinoapparatom. Moskva: Materik, 2002.
  • Taubman, Jane. “The Art of Marina Goldovskaia.” Slavic Review 54.4 (1995): 1010-15.

  Gorin, Grigorii (1940-2000):

  • Gorin, Grigorii. Tot samyi Miunkhgauzen i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seand / Amfora, 2008.

  Gosfil’mofond: (see also Belye Stolby Archival Film Festival)

  • Kinovedcheskie zapiski 86 (2008). Special issue devoted to history of Gosfil’mofond.
  • Malyshev, Vladimir. Gosfil’mofond: Zemlianichnaia poliana. Moskva: Pashkov Dom, 2005.
  • Padunov, Vladimir. “Storing and Restoring History: Gosfil’mofond and the 10th Belye Stolby Archival Film Festival.” KinoKultura 12 (April 2006).

  Govorukhin, Stanislav (1936- ):

  • Govorukhin, Stanislav. Rossiia… kotoruiu my poterialy. Moskva: Soiuz zhurnalistov Moskvy, 1991.
  • –. Velikaia kriminal’naia revoliutsiia.Moskva: Andreevskii flag, 1993.
  • Naiman, Eric and Anne Nesbet. “Documentary Discipline: Three Interrogations of Stanislav Govorukhin.” Soviet Hieroglyphics: Visual Culture in Late Twentieth-century Russia. Ed. Nancy Condee. London/Bloomington: BFI/Indiana UP, 1995. 52-67

  Gubenko, Nikolai (1941- ):

  • Anninskii, Lev. Nikolai Gubenko. Moskva: SK SSSR/Vsesoiuznoe biuro propagandy kinoiskusstva, 1986.
  • Condee, Nancy and Vladimir Padunov. “Children At War: Films by Gubenko, Evtushenko, and Bykov.” Framework 30/31 (1986): 16-35.
  • Ivanova, Valentina. “Gubenko.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 243-254.

  Gurchenko, Liudmila (1935- ):

  • Gurchenko, Liudmila. Aplodistmenty. Moskva: Sovremennik, 1987.
  • –. Moe vzrosloe detstvo. Moskva: Molodaia gvardiia, 1983.

  Gurevich, Leonid (1932-2001)

  • Berezanskaia, Sima, comp. Leonid Gurevich: Kadry zhizni. Moskva: Frosta Dizain, 2002.

4.10.3. Russian and Soviet Filmmakers: I-L

Iarmatov, Kamil’ (1903-1978):

• Teshebaev, Dzhura. Kamil’ Iarmatov. Moscow: Iskusstvo, 1964.

Ibragimbekov, Rustam (1939- ):

• Ibragimbekov, Rustam. Utomlennye solntsem i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.
• Zorkaia, Neia. Retrospektiva fil’mov k 60-letiiu so dnia rozhdeniia. Moskva: XXI Moskovskii mezhdunarodnyi kinofestival’, 1999.

Il’enko, Iurii (1936- ):

• Fomin, Valerii. Peresechenie parallel’nykh: Lotianu, Il’enko, Ioseliani, Mansurov, Okeev, Panfilov, Shukshin. Moskva: Iskusstvo, 1976.
• Ilyenko, Yuri. “A Director’s Credo.” Soviet Life 2 (185), Feb. 1972: 56-57.

Il’inskii, Igor’ (1901-1987):

• Il’inskii, Igor’. Sam o sebe. Moskva: Iskusstvo, 1984.

Ioseliani, Otar (1934- ):

• Abdullaeva, Zara. “Drugaia Evropa” in Real’noe kino. Moskva: Tri kvadrata, 2003. 137-142.
• Fomin, Valerii. Peresechenie parallel’nykh: Lotianu, Il’enko, Ioseliani, Mansurov, Okeev, Panfilov, Shukshin. Moskva: Iskusstvo, 1976.
• Ioseliani, Otar. “Razboiniki. Glava VII: Ia nichego ne prinimaiu vser’ez.” Iskusstvo kino 12 (1996): 4-7.
• Plakhov, Andrei. “Otar Ioseliani.” Vsego 33: Zvezdy mirovoi kinorezhissury. Vinnitsa: Akvilon, 1999: 381-392.
• Plakhova, Elena. “Desiat’ indeitsev Otara Ioseliani.” Iskusstvo kino 12 (1996): 8-11.
• Troshin, Aleksandr. “Interv’iu s Ioseliani: ‘Vse idet po krugu…’.” Iskusstvo kino 12 (1996): 12-17.
• Zorkaia, Neia, I.K. Kozlov, and Ira Shilova: “K interpretatsii fil’ma: Zhil pevchii drozd’ togda i teper’.” Kinovedcheskie zapiski 11 (1991): 129-148.

Iufit, Evgenii (1961- ):

• Alaniz, José and Seth Graham. “Early Necrocinema in Context.” necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 5-27.
• Aleinikov, Gleb. “Blesk i nishcheta industrii parallel’nykh grez.” Iskusstvo kino 6 (1989): 118-133.
• Aleinikov, Igor. Redfish in America Exhibition Catalogue. Cambridge, MA: The Arts, 1990.
• Andreeva, Ekaterina. “Po tu storonu necrorealiizma.” Seans 12 (1996): 105-108.
• Berry, Ellen E. and Anessa Miller-Pogacar. “A Shock Thearpy for the Social Consciousness: The Nature and Cultural Function of Russian Necrorealism.” Cultural Critique (Fall 1996): 185-203.
• Campbell, Thomas H. “The Bioaesthetics of Evgenii Iufit.” KinoKultura 11 (January 2006).
• Christie, Ian. “Returning to Zero.” Sight and Sound 8.4 (April 1998): 14-17.
• Demichev, Andrei. “The Autumn of Necrorealism.” necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 60-61.
• –. “Face to Face with Necro.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Anessa Pogacar. Ann Arbor: U of Michigan P, 1995. 4-6.
• Dobrotvorskii, Sergei. “The Most Avant-Garde of all Parallel Ones: The Times and Ways of the Soviet Independents.” Russian Critics on the Cinema of Glasnost’. Ed. Michael Brashinsky and Andrew Horton. Cambridge: Cambridge UP, 1994. 40-45.
• Graham, Seth, ed. necrorealism: Contexts, History, Interpretations. Pittsburgh: Russian Film Symposium, 2001.
• Iampolsky, Mikhail. “Death in Cinema.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Anessa Miller-Pogacar. Ann Arbor: U of Michigan P, 1995. 270-288.
• Mazin, Viktor. Excerpts from Cabinet of Necrorealism: Iufit and. necrorealism: Contexts, History, and Interpretations. Ed Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 28-52.
• –. Kabinet nekrorealizma: Iufit i…. Kabinet BE. Saint Petersburg: INAPress, 1998.
• –. “Knights of the Heavens in the representation of death.” Trans. Thomas Campbell. Proceedings of the 15th International Conference on Literature and Psychoanalysis. 105-114.
• Mikhel’son, P. and Evgenii Iufit. “Nekroestetika, interv’iu.” Iskusstvo kino 6 (1989): 134-135.
• Turkina, Olesia and Viktor Mazin. “Para-Necro-Blockbuster, or Evgenii Iufit and Vladimir Maslov’s Silever Heads“. necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 53-59.

Iurenev, Rostislav (1912-2002):

• Iurenev, Rostislav. V opravdanie etoi zhizni. Moskva: Materik, 2007.

Iutkevich, Sergei (1904-1985):

• Kutorga, Z.G., ed. Teoreticheskie chteniia pamiati S. Iutkevicha. Moskva: NII Kinoiskusstva, 1992.
• Yutkevich, Sergei. “Teenage Artists of the Revolution.” Trans. David Robinson. Ed. Luda & Jean Schnitzer and Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.

Kaidanovskii, Aleksandr (1946-1995)

• Kaidanovskii, Aleksandr. Kinostsenarii. Moskva: Russkoe fenomenologicheskoe obshchestvo, 1996.

Kalatozov, Mikhail (1903-1973)

• Anninskii, Lev. Shestidesiatniki i my. Moskva: Kinotsentr, 1991.
• Bogomolov, Iurii. Mikhail Kalatozov. (Stranitsy tvorcheskoi biografii). Moskva: Iskusstvo, 1989.
• Golovskoi, Valerii. “Mikhail Kalatozov–poltora goda v Gollivude.” Kinovedcheskie zapiski 77 (2006): 271-298.
• Kremlev, German. Mikhail Kalatozov. Moskva: Iskusstvo, 1964.
• Prokhorov, Alexander. “Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The Cranes Are Flying.” Imitations of Life: Two Centuries of Melodrama in Russia. Ed. Louise McReynolds and Joan Neiberger. Durham: Duke UP, 2002: 208-231.
• Woll, Josephine. The Cranes Are Flying. KINOfiles Film Companion 7. London: I.B. Taurus, 2003.
• Zorkaia, Neia. “Letiat zhuravli–vremia Veroniki.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 131-138.

Kalik, Mikhail (1927- ):

• Balandina, Natal’ia. “Poeticheskoe prostranstvo Mikhaila Kalika.” Kinovedcheskie zapiski 57 (2002): 362-377.

Kamalova, Kamara (1938- )

• Chaika, Elena. Kamara Kamalova: Tvorcheskii portret. Moskva: Vsesoiuznoe ob”edinenie “Soiuzinformkino,” 1988.

Kaplunovskii, Vladimir (1906-1969)

• Serikinskii, S. S. “Chetyre ‘Kapitanskie dochki’.” Otechestvennaia istoriia 6 (December 2003): 108-117.

Kheifits, Iosif (1905-1995):

• Kheifits, Iosif. Fioletovyi gus’ i drugie kinopovesti. Leningrad: Iskusstvo, 1970.

Kholodnaia, Vera (1893-1919):

• Prof’eva, Elena. Koroleva ekrana: Istoriia Very Kholodnoi. Moskva: Izdatel’skii dom “I.G.S.,” 2001.
• Ziukov, B. B., ed. Vera Kholodnaia: k 100-letiiu so dnia rozhdeniia. Moskva: Iskusstvo, 1995.

Khotinenko, Vladimir (1952- ):

• Khotinenko, Vladimir. “Avtobiografiia.” Iskusstvo kino 4 (1997): 11-14.
• Maslova, Lidiia. “Chrevo arkhitektora.” Iskusstvo kino 4 (1997): 4-10.
• Plakhova, Elena. “Zerkalo dlia ne-geroia, ili Zhizn’ s pistoletom.” Iskusstvo kino 1 (1994): 47-52.
• Sirkes, Pavel. “Vladimir Khotinenko: Zerkalo dlia rezhissera.” Iskusstvo kino 4 (1997): 14-27.

Khutsiev, Marlen (1925- )

• Beskonechnost’ Marlena Khutsieva: Kruglyi stol v redaktsii Kinovedcheskikh zapisok. Kinovedcheskie zapiski. 14 (1992): 5-26.
• Chernenko, Miron. Marlen Khutsiev. Tvorcheskii portret. Moskva: SK SSSR/Vsesoiuznoe biuro propagandy kinoiskusstva, 1988.
• —. Prosto Marlen. Moskva: Kinogil’diia, 2000.
• Ivanova, Valentina. “Khutsiev.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 199-205.
• Khlopliankina, Tat’iana. Zastava Il’icha: Sud’ba fil’ma. Moskva: Kinotsentr, 1990.
• Kudriavtsev, Sergei. “Oshchushchenie prichastnosti k istorii: geroi i vremia v fil’makh Marlena Khutsieva.” Svoe kino. By Sergei Kudriavtsev. Moskva: Dubl’–D, 1998. 225-258.
• Kurbatova, Kseniia. “Vremia v obraznoi strukture fil’ma Marlena Khutsieva Zastava Il’icha.” Kinovedcheskie zapiski 68 (2004): 237-263.
• Levandovskii, A. A. “Posledniaia zastava.” Otechestvennaia istoriia 6 (December 2003): 70-82.
• “Marlen Chuciev: Bastione Il’ic.” URSS: Dal disgelo alla Perestrojka. Quadreno informativo XXV Mostra Internazionale del Nuovo Cinema. Pesaro, 1989.5-22
• Turovskaia, Maia. “Marlen Khutsiev.” Molodye rezhissery sovremennogo kino. Ed. N.R. Mervol’f. Leningrad, 1962.
• Woll, Josephine. “Being 20, 40 Years Later: Marlen Khutsiev’s Mne dvadtsat’ let (I Am Twenty, 1961).” kinoeye 1.8 (10 December 2001).
• Zorkaia, Neia. “Marlen Khutsiev.” Portrety. Moskva, 1966

KinoForum:

• Borisova, Dar’ia. “The Forum of National Cinemas Played at Being a Film School.” Trans. Vladimir Padunov. KinoKultura 20 (April 2008)

.

• Padunov, Vladimir. “Imperial Acorn –> National Oaks: The Eighth KinoForum.” KinoKultura 5 (July 2004).
• Stishova, Elena. “There’s No Point Arguing with the Marketplace: The Ninth KinoForum.” Trans. Vladimir Padunov. KinoKultura 10 (October 2005).
• Zvonkine, Eugenie. “The Tenth Forum of National Cinematographies of the CIS and the Baltic States (KinoForum).” KinoKultura 13 (July 2006).

KinoShock:

• Abikeyeva, Gul’nara. “KinoShock: A Panorama of National Cinemas.” KinoKultura 7 (January 2005).

Kinotavr:

• Condee, Nancy and Vladimir Padunov. “Subtropical Cinema: Kinotavr, Collective Heroes, and Small Screens.” The Fourteenth Annual Open Russian Film Festival (3-17 June 2003). KinoKultura 1 (July 2003).
• Matizen, Victor. “Masses and Classes: Kinotavr 2004.” Trans. Vladimir Padunov. KinoKultura 5 (July 2004).
• Plakhova, Elena. “Victims of Euphoria: The 17th Open Russian Film Festival (Kinotavr).” Trans. Vladimir Padunov. KinoKultura 14 (October 2006).
• Razlogov, Kirill. “Kinotavr: Caught in the Crossfire.” KinoKultura (October 2007).
• Shpagin, Aleksandr. “Newly Sprouting Seedlings in the Rustling Field of Domestic Cinema (Kinotavr 2005).” Trans. Vladimir Padunov. KinoKultura 10 (October 2005).
• Turovskaia, Maia. “‘Kinotavr’ v otsutstvie Protsessa i Sobytiia, ili Oskolki zerkala.” Iskusstvo kino 11 (1998): 85-91.

KINOTEATR.DOC

• Matvienko, Kristina. “The Third Festival of Real Cinema–Kinoteatr.DOC (Moscow, February 2007).” Trans. Birgit Beumers. KinoKultura 17 (July 2007).
• Solntseva, Alena. KINOTEATR.DOC: The First Three Years.” Trans. Birgit Beumers. KinoKultura 15 (January 2007).

Klimov, Elem (1933-2003) [and Larisa Shepitko (1938-1979)]:

• Björling, Fiona. “When the Film is Better than the Book: Elem Klimov’s Farewell and Valentin Rasputin’s Farewell to Matyora.” Russian Literature on the Silver Screen (II). Russian Studies in Literature 40.3 (Summer 2004): 64-78.
• Klimov, Elem, ed. Larisa: kniga o Larise Shepit’ko. Moskva: Iskusstvo, 1987.
• Klimov, German, et al, comps. Elem Klimov. Nesniatoe kino. Moskva: Izd. dom “Khroniker,” 2008.
• Romanenko, Aelita. Elem Klimov and Larisa Shepitko. Moskva: Novosti, 1990.
• Woll, Josephine. “He Came, He Saw: An Overview of Elem Klimov’s Career.” kinoeye 4.4 (13 September 2004).

Kobrin, Vladimir (1942-1999):

• Gerasimov, Andrei, Mikhail Kamionskii, and Alla Romanenko, comp. Kobrin. Nizhnii Novgorod: “Fond Iuriia Norshteina” and Izd. “MPK-Servis, 2005.

Koktebel’ Studio:

• Birchenough, Tom. “The Koktebel Studio.” KinoKultura 20 (April 2008).

Komarov, Sergei (1891-1957):

• Christensen, Peter. “An Ambivalent NEP Satire of Bourgeois Aspirations: The Kiss for Mary Pickford.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
• Komarov, Sergei. Zhizn’ dlinoiu v vek. Moskva: VGIK, 2000.
• Taylor, Richard. “Ideology and Popular Culture in Soviet Cinema: The Kiss of Mary Pickford.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.

Konchalovskii, Andrei (1937- ):

• Beumers, Birgit. “The Mikhalkov brothers’ view of Russia.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 135-152.
• Ezhov, Valentin and Andrei Mikhalkov-Konchalovskii. Sibiriada: roman. Moskva: Drofa, 1993.
• Johnson, Vida. “The Films of Andrei Konchalovsky.” Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Ed. Graham Petrie and Ruth Dwyer. Lanham: UP of America, 1990.
• Konchalovskii, Andrei. Nizkie istiny. Moskva: “Sovershenno sekretno,” 1998.
• –. Nizkie istiny (7 let spustia). Moskva: Eksmo, 2006.
• –. Vozvyshaiushchii obman. Moskva: “Sovershenno sekretno,” 1999.
• Mikhalkov-Konchalovskii, Andrei. Parabola zamysla. Moskva: Iskusstvo, 1977.
• Norris, Stephen M. “Fools and Cuckoos: The Outisder as Insider in Post-Soviet War Films.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 142-162.
• Shemiakin, Andrei. “Konchalovskii i Tarkovskii: Vmest i vroz.” Kinematograf ottepeli. Kniga vtoraia. Ed. Vitalii Troianovskii. Moskva: Materik, 2002. 228-300.
• Youngblood, Denise. “The Cosmopolitan and the Patriot: The Brothers Mikhalkov-Konchalovsky and Russian Cinema.” Historical Journal of Film, Radio and Television 23.1 (March 2003): 27-41.

Kondrat’ev, Evgenii (1959- ):

• Campbell. Thomas. “A Khakassian Sends a Postcard Home: The Strange Career of Evgenii ‘Debil’ Kondrat’ev.” KinoKultura 16 (April 2007).

Kozhushanaia, Nadezhda (1952-1997):

• Kozhushanaia, Nadezhda. Prorva i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.

Kozintsev, Grigorii (1904-1973):

• Buchman, Lorne. Still in Movement: Shakespeare on Screen. NY: Oxford UP, 1991.
• Chanyshev, I.I., comp. Trilogiia o Maksime. Shedevry mirovogo kino. Moskva: Iskusstvo, 1981.
• Gillespie, David. “Adaptating foreign classics: Kozintsev’s Shakespeare.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 75-88.
• 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.
• Karaganov, Aleksandr. Grigorii Kozintsev: ot Tsaria Maksimiliana do Korolia Lira. Moskva: Materik, 2003.
• Kozintsev, Aleksandr G. “V ochakh dushi.” Kinovedcheskie zapiski. 26 (1995): 177-198.
• Kozintsev, Grigorii. “Chernoe, likhoe vremiia…”: iz rabochikh tetradei. Moskva: “Artist. Rezhisser. Teatr,” 1994.
• –. “A Child of the Revolution.” Trans. David Robinson. Ed. Luda & Jean Schitzer and Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.
• –. Glubokii ekran. Moskva: Iskusstvo, 1971.
• –. Perepiska G.M. Kozintseva, 1922-1973. Ed. V.G. Kozintseva and Ia.L. Butovskii. Moskva: “Artist. Rezhisser. Teatr,” 1998.
• –. Sobranie sochinenii v piati tomakh. Ed. Sergei Gerasimov et al. Leningrad: Iskusstvo, 1982-1986.
• –. Vremia i sovest’. Moskva: Biuro propagandy sovetskogo kinoiskusstva, 1981.
• Kozintseva, V.G. and Ia. L. Butovskii, eds. Vash Grigorii Kozintsev. Moskva: “Artist. Rezhisser. Teatr,” 1996.
• Leaming, Barbara. Grigori Kozintsev. Boston: Twayne Pub., 1980.
• Nedobrovo, Vladimir. FEKS: Grigorii Kozintsev. Leonid Trauberg. Moskva-Leningrad: Kinopechat’, 1928.
• Semenenko, Aleksei. “The Cinematographic Canon.” In Hamlet the Sign: Russian Translations of Hamlet and Literary Canon Formation. Stockholm Studies in Russian Literature. Stockholm: U of Stockholm, 2007. 129-139.
• Troncale, Joseph. “The War and Kozintsev’s Films Hamlet and King Lear.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
• Zorkaia, Neia. “Iunost’ Maksima kak prikliuchencheskaia lenta.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 95-108.
• Zorkaia, Neia, et al. “Kozintsev i Shekspir: materialy simpoziuma.” Kinovedcheskie zapiski. 27 (1995): 191-217.

Krishtofovich, Viacheslav (1947- ):

• Kunin, Vladimir. Rebro Adama: povesti. Saint Petersburg: Novyi Gelikon, 1994.

Kuleshov, Lev (1899-1970):

• Albera, François. Kouléchov et les siens. Locarno: Festival international du Film de Locarno, 1990.
• –. L. Kouléchov et la théorie de l’acteur. Lausanne: Editions de L’Age d’Homme, 1994.
• Amengual, Barthélémy. “Hommage à Lev Koulechov.” Le nouveau cinéma sovietique: Carte blanche à l’Union cineastes d’U.R.S.S. 5′ Rencontres Art & Cinéma. Quimper, 1987. 28-37.
• Aumont, Jacques. “L’Effet Koulechov existe-t-il?” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 1-4.
• Chateau, Dominique. “L’effet Koulechov et le cinéma comme art.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 81-94.
• L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986).
• Gillespie, David. “Lev Kulsehov: The Origins of Montage in Soviet Cinema.” Early Soviet Cinema: Innovation, Ideology and Propaganda. By David Gillespie. London: Wallflower Pub., 2000. 23-36.
• Gromov, E. Lev Vladimirovich Kuleshov. Moskva: Iskusstvo, 1984.
• Hill, Stephen. “Kuleshov–Prophet Without Honor?” Film Culture 44 (Spring 1967): 1-41.
• Iampolski, Mikhail. “Les expériences de Kuleshov et la nouvelle anthropologie de l’acteur.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 25-48.
• Izvolov, N. A. “Neigrovoe kino Kuleshova.” Kinovedcheskie zapiski. 6 (1990): 17-25.
• Joly, Martine and Marc Nicolas. “Koulechov: de l’expérience à l’effet.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 61-80.
• Kepley, Vance Jr. “The Kuleshov Workshop.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 5-24.
• –. “Mr. Kuleshov in the Land of the Modernists.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
• Kovacs, Steven. “Kuleshov’s Aesthetics.” Film Quarterly 29.3 (1976): 34-40.
• Kouléchov, Lev. L’Art de cinéma et autres textes (1917-1934). Ed. François Albera. Lausanne: L’Age h’Homme, 1994.
• Kuleshov, Lev. Kuleshov on Film. Tr. Ronald Levaco. Berkeley: U of CA P, 1974.
• –. Selected Works: Fifth Years in Films. Trans. Dmitri Agrachov and Nina Belennkaya. Moskva: Raduga, 1987.
• –. Osnovy kino rezhissury. Moskva: Goskinoizdat, 1941 [repub: Moskva: VGIK, 1995].
• –. Sobranie sochinenii v trekh tomakh. [2 volumes published]. Moskva: Iskusstvo, 1987-8.
• –. Uroki kinorezhissury. Ed. Mariia Vodenko, et al. Moskva: VGIK, 1999.
• Labarthe, André S. “Entretien avec Lev Koulechov.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 90-97.
• Levaco, Ron. “Kuleshov.” Sight and Sound 40.2 (Spring 1971): 86-91, 109.
• Listov, V. “Vokrug stsenariia fil’ma Luch smertiKinovedcheskie zapiski. 6 (1990): 11-16.
• Petric, Vlada. “A Subtextual Reading of Kuleshov’s Satire The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924).” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
• Polan, Dana. “The ‘Kuleshov Effect’.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 95-106.
• Prince, Steven and W. E. Hensley. “The Kuleshov Effect: Recreating the Classic Experiment.” Cinema Journal 31.2 (Winter 1992): 59-75.
• Sokolov, V. S. “K teoreticheskim istolkovaniiam ‘effekta Kuleshova’.” Kinovedcheskie zapiski. 6 (1990): 26-62.
• Trofaila, Stella. “Effekt razorvannoi struktury. Lev Kuleshov. Velikii uteshitel’.” Tiani-Tolkai 2 (1994): 7-18.
• Tsivian, Yury. “Cutting and framing in Bauer’s and Kuleshov’s films.” Kinotop (1993): 103-113.
• Tsivian, Yuri, et al. “The Rediscovery of a Kuleshov Experiment: A Dossier.” Film History 8.3 (1996): 357-367.
• Tsyviane, Iouri. “Notes historiques en marge de l’expérience de Koulechov.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 49-60.
• Yampolsky, Mikhail. “Kulsehov’s Experiments and the New Anthropology of the Actor.” Silent Film. Ed. Richard Abel. New Brunswick: Rutgers UP, 1996.
• –. “Mask face and Machine Face.” Trans. Larry Joseph. The Drama Review 38.3 (1994): 60-74.
• Zorkaia, Neia. “Sur Koulechov.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 98-101.

Kulidzhanov, Lev (1924-2002):

• Fokina, Natal’ia. Togda derev’ia byli bol’shimi: Lev Kulidzhanov v vospominaniakh zheny. Ekaterinburg: U-Faktoriia, 2004.

Kuz’mina, Elena (1909-1979):

• Ivanova, Valentina. “Kuz’mina.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 179-184.
• Kuz’mina. Elena. O tom, chto pomniu. Moskva: Iskusstvo, 1989.

Kvirikadze, Irakli (1939- ):

• 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.

Ladynina, Marina (1908- )

• Ivanova, Valentina. “Ladynina.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 171-178.

Lebedev, Nikolai (1967- ):

• Mantsov, Igor’. “Immitatsiia zhanra.” Iskusstvo kino 6 (1998): 77-82.
• “Zmeinyi istochnik.” Press-reliz. Moskva: Kinostudiia im. Gor’kogo, 1998. 1-10.

Lenfilm:

1917-1934: Kinosev, Sevzapkino, Leningradkino, Sovkino, Rosfil’m, Soiuzfil’m, and others
since 1934: Lenfilm

• [Bleiman, Mikhail?]. “[“Pervoe desiatiletie ‘Lenfil’ma'”]. Iz istorii “Lenfil’ma.” Kinovedcheskie zapiski 63 (2003): 75-95.
• German, Aleksey. “My Friend Aleksandr Sokurov.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 30-34.
• German, Aleksey and Yuri Pavlov. “The Workshop for First Films.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 15-20.
• Gornitskaia, N.S. “Iz istorii ‘Lenfil’ma’: Korotko o glavnom.” Kinovedcheskie zapiski 63 (2003): 96-102.
• Gukasyan, Frizheta. “Aleksey German, Three-and-a-Half Films Later.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 27-29.
• –. “Lenfilm Today.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 8-14.
• Iz istorii “Lenfil’ma.” Dokumenty. Vospominaniia. Stat’i. 4 issues. Leningrad, 1968-1975.
• Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990.
• Pozdniakov, Aleksandr. Ot Akvariuma do Lenfil’ma. Sankt Peterburg: Sankt-Peterburgskoe izdatel’skoe delo, 1996.
• Proskurina, Svetlana. “The Troitsky Most Studio.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 21-26.
• Toubiana, Serge. “Lenfilm, le cours nouveau.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 58-61

Litvinova, Renata (1967- ):

• Litvinova, Renata. Obladat’ i prinadlezhat’: Novelly i kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.
• Shilova, Irina. “Renata Litvinova: Actress and Persona.” Trans. Vladimir Padunov. KinoKultura 19 (January 2008).
• Vasil’ev, Aleksei. Boginia. Razgovory s Renatoi Litvinovoi. Moskva: Afisha, 2005.

Livnev, Sergei (1964- ):

• Hansen, Sabina. “Fantasmagorii sotsrealisticheskogo kanona.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 427-439.
• Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
• Larsen. “Melodramatic Masculinity, National Identity, and the Stalinist Past in Postsoviet Cinema.” Studies in 20th Century Literature: Russian Culture of the 1990s Ed. Helena Goscilo) 24.1 (Winter 2000): 85-120.
• Prokhorov, Alexander. “‘I Need Some Life-Assertive Character’ or How to Die in the Most Inspiring Pose: Bodies in the Stalinist Museum of Hammer and Sickle.” Studies in Slavic Culture 1 (2000): .

Lopushanskii, Konstantin (1947- ):

• Lopushanskii, Konstantin. Russkaia simfoniia: Kinopovesti, kinostsenarii, interv’iu. SPb: Aleteiia, 2008.

Lotianu, Emil (1936- ):

• Fomin, Valerii. Peresechenie parallel’nykh: Lotianu, Il’enko, Ioseliani, Mansurov, Okeev, Panfilov, Shukshin. Moskva: Iskusstvo, 1976.
• Lipkov, Aleksandr. Emil Lotianu. Moskva: SK SSSR/vsesoiuznoe biuro propagandy kinoiskusstva, 1983.

Lukov, Leonid (1909-1963):

• Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.

Lungin, Pavel (1949- ):

• Daney, Serge, et al. “Pavel Lounguine: Dans les rues de Moscou.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 28-31.
• Lungin, Pavel. Taksi-bliuz i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2008.
• Mazierska, Ewa and Laura Rascaroli. “Cleansing the City and the Country: Moscow in the Films of Pavel Lungin.” From Moscow to Madrid: Postmodern Cities, European Cinema. London: I.B. Taurus, 2003. 137-159.
• Pally, Marcia. “Taxi Blues.” Cineaste 18.2 (1991): 22-27.
• Shepotinnik, Pyotr. “Taxi Fares, Blues Jams, and Film Viewers.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

Lutsik, Petr (1960-2001):

• Lykova, Irina. “The Kuban Cossacks: In the Wild Field.” Kino-Eye 12: 33.
• Mantsov, Igor’. “Geopoliticheskaia komediia.” Iskusstvo kino 12 (1998): 27-32.
  

  4.10.4. Russian and Soviet Filmmakers: M-R

  Makovetskii, Sergei (1958- ):

  • Makovetskii, Sergei. Svoimi slovami: Kniga, rasskazannaia na “Kinotavre”. Moskva: Rutena, 2001.

  Mamin, Iurii (1946- ):

  • Cordescu, Andrei. “Quick Takes on Yuri Mamin’s Fountain from the Perspective of a Romanian.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Horton, Andrew. “Carnivals Bright, Dark, and Grotesque in the Glasnost Satires of Mamin, Mutafayev, and Shakhnazarov.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • –. “‘One Should Begin With Zero’: A Discussion with satiric Filmmaker Yuri Mamin.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.

  Manskii, Vitalii (1963 – ):

  • Abdullaeva, Zara. “Vodoboiazn'” in Real’noe kino. Moskva: Tri kvadrata, 2003. 263-274.
  • —. “Internatsional” in Real’noe kino. Moskva: Tri kvadrata, 2003. 341-350.
  • —. “Iskusstvennye ptitsy” in Real’noe kino. Moskva: Tri kvadrata, 2003. 325-340.

  Mariagin, Leonid (1937-2003):

  • Demin, Viktor. Leonid Mariagin: Kollegi i druz’ia v rasskazakh rezhissera i portret samogo rezhissera uvidennyi kritikom. Mosjva: Vsesoiuznoe ob”edinenie Soiuzinformkino, 1988.
  • Mariagin, Leonid. Idu na vy. Moskva: Izdatel’stvo kinostudii “Globus,” 2000.
  • —. Iznanka ekrana. Moskva: Detektiv-Press, 2003.

  Medvedkin, Aleksandr (1900-1989):

  • Deriabin, Aleksandr, ed. “Ves’ Medvedkin: filmografiia.” Kinovedcheskie zapiski 49 (2000): 86-146.
  • “Interview with Alexander Medvedkin.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.
  • Iurenev, Rastislav. Aleksandr Medvedkin, satirik. Moskva: Biuo propagandy sovetskogo kinoiskusstva, 1981.
  • Widdis, Emma. Alexander Medvedkin. The Filmmaker’s Companion 2. London: I.B. Tauris, 2005.

  Men’shikov, Oleg (1960- ):

  • Lemeleva, Helene. “An Interview with Oleg Menshikov.” Slavic and East European Performance 25.3 (Fall 2005): 69-77.
  • Muratova, Olga. “Oleg Menshikov: Daring to be Different.” Slavic and East European Performance 25.3 (Fall 2005): 56-68.

  Men’shov, Vladimir (1939- ):

  • Gillespie, David C. “The Sounds of Music: Soundtrack and Song in Soviet Film.” Slavic Review 62.3 (Fall 2003): 473-490.
  • MacFadyen, David. “Moscow Does Not Believe in Tears: From Oscar to consolation prize.” Studies in Russian and Soviet Cinema 1.1 (2007): 45-67.

  Merezhko, Viktor (1937- ):

  • Merezhko, Viktor. Polety vo sne i naiavu i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2008.

  Mezhrabpom-Rus’ (1924-1928), Mezhrabpom-Fil’m (1928-1936), Rotfil’m [Rot-Front] (1936-1937)

  • Bulgakova, Oksana. “Proletarskaia kinoutopiia na Maslovke, ili Eksport ‘Rusi’ v Berlin.” Kinovedcheskie zapiski 33 (1997): 37-54.
  • Bulgakowa, Oksana. “Der Fall Meshrabpom.” Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki: Das Buch zum Filmreihe “Moskau–Berlin”. Ed. Oksana Bulgakowa. Berlin: Freunde der Deutschen Kinematek, 1995. 185-193.
  • Chochlowa, Jekaterina. “Meshrabpom. Dokumente.” Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki: Das Buch zum Filmreihe “Moskau–Berlin”. Ed. Oksana Bulgakowa. Berlin: Freunde der Deutschen Kinematek, 1995. 195-206.
  • Iangirov, Rashid. “Neigrovoe kino ‘Mezhrabpom-Rus’/’Mezhrabpomfil’m’. Materialiy k katalogu.” Kinovedcheskie zapiski 33 (1997): 54-60.
  • Kherroubi, Aïcha and Valérie Posener. Le Studio Mejrabpom: ou l’aventure du cinéma privé au pays des bolcheviks. Les Dossiers du musée d’Orsay 59. Paris: Réunion des Musées Nationaux, 1996.
  • “Neigrovye fil’my ‘Mezhrabpom-Rus’/’Mezhrabpomfil’m’ (1923-1936).” Kinovedcheskie zapiski 33 (1997): 60-75.

  Mikaelian, Sergei (1923):

• Gel’man, Aleksandr. Premiia: Kinostsenarii. Moskva: Iskusstvo, 1976.

• Mikhalkov, Nikita (1945- ):

  • Beumers, Birgit. Burnt By the Sun. KINOfile Film Companion 3. London: I.B. Tauris, 2000.
  • —. “The Mikhalkov brothers’ view of Russia.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 135-152.
  • —. Nikita Mikhalkov. The Filmmaker’s Companion 1. London: I.B. Tauris, 2005.
  • –. “Sibirskii tsiriul’nik (The Barber of Siberia).” European Cinema: An Introduction. Ed. Jill Forbes and Sarah Street. NY: Palgrave, 2000. 195-205.
  • Condee, Nancy. “Nikita Mikhalkov: European but Not Western?” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 85-113.
  • Larsen, Susan. “National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleskei Balabanov.” Slavic Review 62.3 (Fall 2003): 491-511.
  • Leont’eva, T. G. “Zhestokii romans s istoriei (O tvorchestve Nikity Mikhalkova).” Otechestvennaia istoriia 6 (December 2003): 117-126.
  • Lipkov, Aleksandr. Nikita Mikhalkov. Moskva: SK SSSR/Biuro propagandy sovetskogo kinoiskusstva, 1981.
  • Moskvina, Tatiana. “La Grande Illusion.” Russia on Reels: The Russian Idea in Post-Soviet Cinema. Ed. Birgit Beumers. London: I.B. Tauris, 1999. 91-104.
  • Neuberger, Joan. “Between Public and Private: Revolution and Melodrama in Nikita Mikhalkov’s Slave of Love.” Imitations of Life: Two Centuries of Melodrama in Russia. Ed. Louise McReynolds and Joan Neiberger. Durham: Duke UP, 2002: 259-282.
  • Norris, Stephen. “Tsarist Russia, Lubok Style: Nikita Mikhalkov’s Barber of Siberia (1999) and Post-Soviet Identity.” Historical Journal of Film, Radio and Television 25.1 (March 2005): 101-118.
  • Razzakov, Fedor. Nikita Mikhalkov: Chuzhoi sredi svoikh. Moskva: Eksmo, 2005.
  • Sandler, Anetta M., comp. Nikita Mikhalkov. Sbornik. Moskva: Iskusstvo, 1989.
  • Semina, Natal’ia, idea. Svoi sredi chuzhikh, chuzhoi sredi svoikh: Komiks (K 30-letiiu fil’ma). Moskva: Izd. dom “Sibirskii tsiriul’nik, 2004.
  • Suminova, T.N., comp. Nikita Mikhalkov: fil’mograficjeskii i bibliograficheskii ukazatel’. Moskva: Studiia “Trite” and Rossisskii arkhiv, 1995.
  • Valentino, Russell Scott. “Adapting the landscape: Oblomov’s vision of film.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 153-163.
  • Youngblood, Denise. “The Cosmopolitan and the Patriot: The Brothers Mikhalkov-Konchalovsky and Russian Cinema.” Historical Journal of Film, Radio and Television 23.1 (March 2003): 27-41.

  Mindadze, Aleksandr (1949 – ):

  • Condee, Nancy. “Vadim Abdrashitov-Aleksandr Mindadze: A Community of Somnabulists.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 141-158.
  • Marcucci, Giulia. “Interview with Aleksandr Mindadze: From Scriptwriter to Director of Soar.” KinoKultura 19 (January 2008).
  • Mindadze, Aleksandr. Otryv i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.

  Mitta, Aleksandr (1933- ):

  • Kagarlitskaia, Anna. Aleksandr Mitta: Tvorcheskii portret. Moskva: Vsesoiuznoe ob”edinenie Soiuzinformkino, 1988.
  • Mitta, Aleksandr. Kino mezhdu adom i raem. Moskva: Podkova, 1999; Moskva: Zebra, 2005.

  Mordiukova, Nonna (1925- ):

  • Mordiukova, Nonna. Ne plach’, kazachka!. Moskva: Olimp, 1998.

  Moscow International Film Festival:

  • Chirilov, Mihai. “Phony Games: The Moscow Film Festival.” KinoKultura 18 (October 2007).
  • Khokhriakova, Svetlana. “Starless, Prize-less: The Moscow International Film Festival 2006.” Trans. Birgit Beumers. KinoKultura 14 (October 2006).
  • Larsen, Susan. “At the Intersection of Art, Commerce, and National Pride” (Moscow International Film Festival 2004). KinoKultura 6 (October 2004).
  • MacFadyen, David. “Strike Up Pipers! The Russian Program of the Moscow Film Festival, 2007.” KinoKultura 18 (October 2007).
  • Padunov, Vladimir. “Moscow’s Silver Anniversary: XXV Moscow International Film Festival (20-29 June 2003).” KinoKultura 1 (July 2003).
  • Tasbulatova, Diliara. “Study, Study, Study: The Grand Prize of the 27th Moscow International Film Festival Went to Aleksei Uchitel”s Dreaming of Space.” Trans. Vladimir Padunov. KinoKultura 10 (October 2005).

  Mosfilm [Studio]: Mosfilm

  1924: First and Third Film Factory of Goskino
  1926: united into Moscow Film Factory
  1930: Soiuzkino
  1932: Rosfil’m
  1933: Soiuzfil’m
  1934: Moskinokombinat
  1935: Mosfil’m Factory
  Jan 1936: Mosfil’m

  • Mosfilm. Moscow: Sovexportfilm, n.d.
  • Turovskaia, Maia. “Mosfil’m–1937.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 277-294.
  • Ushakova, N. “Muzei kinostudii ‘Mosfil’m’.” Iz istorii kino 2 (1959): 156-160.

  Motyl’, Vladimir (1927- ):

  • Anon. “30 Years Under the White Sun.” Russian Life (April/May 1999): 17-23, 64.
  • Ezhov, Valentin. Beloe solntse pustyni. Ekaterinburg: Lad’, 1994. 69-112.
  • Gillespie, David C. “The Sounds of Music: Soundtrack and Song in Soviet Film.” Slavic Review 62.3 (Fall 2003): 473-490.
  • Zorkaia, Neia. “Beloe solntse pustyni–reiting zritelei.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 173-184.

  Mozzhukhin, Ivan (1889-1939):

  • Nusinova, Nina. “‘Koster pylaiushchii’ Ivana Mozzhukhina: Vybor tvorcheskogo puti kak poisk novoi rodiny.” Kinovedcheskie zapiski 3 (1989): 68-85.
  • Sirotin, Oleg. “Rodina i rodnye Ivana Mozzhukhina.” Kinovedcheskie zapiski 77 (2006): 217-237.

  Muratova, Kira (1934- ):

  • Abdullaeva, Zara. “Chuvstvitel’naia Muratova” in Real’noe kino. Moskva: Tri Kvadrata, 2003. 353-385.
  • –. Kira Muratova: Iskusstvo kino. Moskva: Novoe literaturnoe obozrenie, 2008.
  • Arkhangel’skii, Aleksandr. “Tema i rema.” Iskusstvo kino 6 (1997): 18-26.
  • Aronson, Oleg. “Ekstsentrika priema i materiala: O fil’makh Kiry Muratovoi.” Metakino. Moskva: Ad Marginem, 2003. 205-217.
  • Berry, Ellen. “Grief and Simulation in Kira’s Muratova’s The Aesthenic Syndrome.” The Russian Review (July 1998): 446-54.
  • Bulgakowa, Oksana. “Der ‘provinzelle’ Film der Kira Muratowa.” Sowjetischer Film Heute. Hrsg. Sabina Brändli und Walter Ruggle. Zürich: Verlag Lars Müller, 1990. 99-114.
  • Condee, Nancy. “Kira Muratova: The Zoological Imperium.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 115-140.
  • Fomin, Valerii. “Kak iz Kiry Muratovoi Ivana Sidorova sdelali” (part two of “Kino Ukrainy: Chetyresta udara”). Kinoforum 2 (2002): 31-9.
  • Gersova, L.S. “Kira Muratova.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986. 26-30.
  • Gromov, Evgenii, ed. Kira Muratova–98: masterskaia kinovedov Evgeniia Gromova. Moskva: VGIK, 1999.
  • Gusiatinskii, Evgenii. “Mo(nu)mental’nye snimki.” Kinoforum 4 (2002): 63-68. Translated as “Monumental or Momentary.” Kinoforum Special Issue (2002): 61-66.
  • Izvolova, Irina. “Zvuk lopnuvshei struny.” Iskusstvo kino 8 (1998): 110-119.
  • Kudriavtsev, Sergei. “…Tianetsia muzyki svetlaia nit’.” Kinoforum 4 (2002): 58-62. Translated as “…A Bright Music Thread” in Kinoforum Special Issue (2002): 56-60.
  • Larsen, Susan. “Figuring Gender and Ethnicity in Kira Muratova’s A Change of Fate.” Soviet Hieroglyphics: Visual Culture in Late Twentieth-century Russia. Ed. Nancy Condee. London/Bloomington: BFI/Indiana UP, 1995.
  • Plakhov, Andrei. “Kira Muratova.” Vsego 33: Zvezdy mirovoi kinorezhissury. Vinnitsa: Akvilon, 1999: 201-212.
  • Roberts, Graham. “The Meaning of Death: Kira Muratova’s Cinema of the Absurd.” Russia on Reels: The Russian Idea in Post-Soviet Cinema. Ed. Birgit Beumers. London: I.B. Tauris, 1999. 144-160.
  • Rubanova, Irina, et al. “Razbory.” Iskusstvo kino 9 (1997): 90-107.
  • 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.
  • Tarakhanova, E. S. “Vospitannoe smiatenie chuvstvitel’noi Kiry Muratovoi.” Kinovedcheskie zapiski. 27 (1995): 51-69.
  • Taubman, Jane. Asthenic Syndrome. Cinetek Series. Wiltshire: Flicks Books, 2000.
  • –. “The Cinema of Kira Muratova.” The Russian Review 52 (July 1993): 367-81.
  • —. Kira Muratova. The Filmmaker’s Companion 4. London: I.B. Tauris, 2005.
  • Tippner, Anja. “Selbstjustiz als Ausdruck von Gewalt im russischen Film der neunziger Jahre: A. Balabanovs Brat 1 + 2 und K. Muratovas Tri istorii. Der Welt der Slaven 48, 2003: 321-334.
  • Widdis, Emma. “Muratova’s Clothes, Muratova’s Textures, Muratova’s Skin.” KinoKultura 8 (April 2005).
  • 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.

  Naumov, Vladimir/Alov, Aleksandr:

  See entry for

  Alov, Aleksandr

  Necrorealism:

  • Alaniz, José and Seth Graham. “Early Necrocinema in Context.” necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 5-27.
  • Aleinikov, Gleb. “Blesk i nishcheta industrii parallel’nykh grez.” Iskusstvo kino 6 (1989): 118-133.
  • Aleinikov, Igor. Redfish in America Exhibition Catalogue. Cambridge, MA: The Arts, 1990.
  • Andreeva, Ekaterina. “Po tu storonu necrorealiizma.” Seans 12 (1996): 105-108.
  • Berry, Ellen E. and Anessa Miller-Pogacar. “A Shock Thearpy for the Social Consciousness: The Nature and Cultural Function of Russian Necrorealism.” Cultural Critique (Fall 1996): 185-203.
  • Campbell, Thomas H. “The Bioaesthetics of Evgenii Iufit.” KinoKultura 11 (January 2006).
  • Christie, Ian. “Returning to Zero.” Sight and Sound 8.4 (April 1998): 14-17.
  • Demichev, Andrei. “The Autumn of Necrorealism.” necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 60-61.
  • –. “Face to Face with Necro.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Anessa Pogacar. Ann Arbor: U of Michigan P, 1995. 4-6.
  • Dobrotvorskii, Sergei. “The Most Avant-Garde of all Parallel Ones: The Times and Ways of the Soviet Independents.” Russian Critics on the Cinema of Glasnost’. Ed. Michael Brashinsky and Andrew Horton. Cambridge: Cambridge UP, 1994. 40-45.
  • Graham, Seth, ed. necrorealism: Contexts, History, Interpretations. Pittsburgh: Russian Film Symposium, 2001.
  • Iampolsky, Mikhail. “Death in Cinema.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Anessa Miller-Pogacar. Ann Arbor: U of Michigan P, 1995. 270-288.
  • Mazin, Viktor. Excerpts from Cabinet of Necrorealism: Iufit and. necrorealism: Contexts, History, and Interpretations. Ed Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 28-52.
  • –. Kabinet nekrorealizma: Iufit i…. Kabinet BE. Saint Petersburg: INAPress, 1998.
  • –. “Knights of the Heavens in the representation of death.” Trans. Thomas Campbell. Proceedings of the 15th International Conference on Literature and Psychoanalysis. 105-114.
  • Mikhel’son, P. and Evgenii Iufit. “Nekroestetika, interv’iu.” Iskusstvo kino 6 (1989): 134-135.
  • Turkina, Olesia and Viktor Mazin. “Para-Necro-Blockbuster, or Evgenii Iufit and Vladimir Maslov’s Silever Heads“. necrorealism: Contexts, History, Interpretations. Ed. Seth Graham. Pittsburgh: Russian Film Symposium, 2001. 53-59.

  Norshtein, Iurii (1941- ):

  • Kitson, Clare. Yuri Norstein and Tale of Tales: An Animator’s Journey. Bloomington: Indiana UP, 2005.
  • Norshtein, Iurii. Sneg na trave: Glavy iz knigi. Moskva: VGIK i Iskusstvo kino, 2005.
  • Norshtein, Iurii i Francheska Iarbusova. Skazka skazok. Moskva: Krasnaia ploshchad’, 2005.

  Nugmanov, Rashid (1954- ):

  • Drozdova, Marina. “A Dandy of the Post-punk Era, or ‘Goodbye, America, oh…’.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

  Odessa Film Studio:

  1919: pre-revolutionary studios merged into the Film Section of the Political Department of the 41st Red Army Division
  1920: Odessa Section of the All-Ukraine Kino Factory
  1922: reorganized into the Odessa Film Factory of VUFKU (All-Ukraine Photo-Film Directorate)
  1929: Odessa Film Factory of Ukrainfil’m
  1938: Odessa Film Studio

  • Iungval’d-Khil’kevich, Natalia, ed. Odesskaia al’ternativa. Odessa: Maik, 1988.

  Ogorodnikov, Valerii (1951- ):

  • Vorauer, Markus and Mikhael’ Aikhmaier. eds. Fil’my Valeriia Ogorodnikova. Saint Petersburg: DarFilm, 2004.

  Okhlobystin, Ivan (1966- ):

  • Okhlobystin, Ivan. DMB i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2008.

  Okudzhava, Bulat (1924-1997):

  • Okudzhava, Bulat. Kapli Datskogo korolia: kinostsenarii, pesni dlia kino. Moskva: Kinotsentr, 1991.

  Okunevskaia, Tat’iana (1914- ):

  • Okunevskaia, Tat’iana. Tatianin Den’. Moi 20 vek. Moskva: Vagrius, 1998.

  Orlova, Liubov (1902-1975):

  • Bulgakowa, Oksana. “Sovetskie krasavitsy v stalinskom kino.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 391-411.
  • Frolov, Ivan. Liubov’ Orlova: v grime i bez grima. Mir kino. Moskva: Panorama, 1997.
  • Khort, Aleksandr. Liubov’ Orlova. Zhizn’ zamechatel’nykh liudei. Moskva: Molodaia gvardiia, 2007.
  • Romanov, A. Liubov’ Orlova. Moskva: Iskusstvo, 1987.
  • Saakov, Iurii. Liubov’ Orlova: Sto bylei i sto nebylits. Moskva: Algoritm, 2002.
  • Shcheglov, Dmitrii. Liubov’ Orlova. Moskva: Olimp, 1998.
  • Zorkaia, Neia. “Tsirk i sverkaiushchie geroini Liubovi Orlovoi.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 109-130.

  Ovcharov, Sergei (1955- ):

  • Avrutina, Lily. “Find the Magic Word.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Aness Miller-Pogacar. Ann Arbor: U of Michigan P, 1995.
  • Graham, Seth. “Metaphorical Function of the Silent Film Body in Sergei Ovcharov’s Barabaniada.” Studies in Slavic Cultures 3 (2002): 73-83.

  Ozerov, Iurii (1921-2001):

  • Palatnikova, Ol’ga, comp. Iurii Ozerov v vospominaniakh sovremennikov. Moskva: “El’f-IPR,” 2005.

  Panfilov, Gleb (1934- ):

  • Dobrenko, Evgenii. “Tri materi.” Iskusstvo kino 8 (2000): 96-111.
  • Fomin, Valerii. Peresechenie parallel’nykh: Lotianu, Il’enko, Ioseliani, Mansurov, Okeev, Panfilov, Shukshin. Moskva: Iskusstvo, 1976.
  • “Mat’ Panfilova: Opyt kollektivnoi interpretatsii.” Kinovedcheskie zapiski. 28 (1991): 55-79.

  Paradjanov, Sergei (1924-1990):

  • Abrahamian, Levon Hm. “Towards a Poetics of Parajanov’s Cinema.” Armenian Review 47.3-4/48.1-2 (2001-2002): 67-91.
  • Alekseichuk, Leonid. “A Warrior in the Field.” Sight & Sound 60.1 (1990/1991): 22-26.
  • Allahverdian, Haig. “The Color of Genius: Parajanov’s Masterpiece.” Ararat 23.1 (Winter 1982): 39-43.
  • Amengual, Barthelemy. “Sur deux neveux d’Eisnestein.” Études Littéraires 20.3 (Winter 1987-1988): 123-136.
  • Anninskii, Lev. “Tri zvena.” Iskusstvo kino 9 (1971): 134-152.
  • Cazals, Patrick. Sergei Paradjanov. Paris: Cahiers du cinema (Collection “Auteurs”), 1993.
  • Cook, David. “Shadows of Forgotten Ancestors: Film as Religious Art.” Post Script 3.3 (1984): 16-23.
  • Grigorian, Levon. Tri tsveta odnoi strasti: triptikh Sergeia Paradzhanova. Moskva: SK SSSR/Kinotsentr, 1991.
  • Gvakharia, Geiorgi. “Sergei Parajanov’s Ecumenical Vision.” Armenian Review 47.3-4/48.1-2 (2001-2002): 93-104.
  • Hamalian, Leo and James V. Hatch. “The Shadow of Parajanov.” Ararat 23.1 (Winter 1982): 45-50.
  • Kalantar, Karen. Ocherki o Paradzhanove. Erevan: “Gitutiun” NAN RA, 1998.
  • Katanian, Vasilii. Paradzhanov: Tsena vechnogo prazdnika. Nizhnii Novgorod: Dekom, 2001.
  • Nebesio, Bohdan. “Shadows of Forgotten Ancestors: Storytelling in the Novel and the Film.” Literature-Film-Quarterly 22.1 (1994): 42-49.
  • Papazian, Elizabeth A. “Ethnography, Fairytale, and ‘Perpetual Motion’ in Sergei Paradjanov’s Ashik-Kerib.” Literature/Film Quarterly 34.4 (2006): 303-312.
  • Paradjanov, Sergei. Seven Visions. Trans. Guy Bennett. Copenhagen and Los Angeles: Green Integer, 1998.
  • Paradzhanov, Sergei. “Iz naslediia.–Vystuplenie na s”ezde komsomola Belorussii.” Kinovedcheskie zapiski 23 (1994): 76-90.
  • Payne, R. “The Storm of the eye: culture, spectacle, Paradzhanov.” Spectator 10.1 (1989): 32-45.
  • Picchi, Michele. Sergej Paradzanov. Milan: Il Castoro, 1994.
  • Porfirova, I. “Fol’klor v fil’makh Paradzhanova.” Tiani-Tolkai 1 (1993): 62-84.
  • Scarcia, Gianroberto, ed. Asik-Kerib. Euresiatica 28. Venezia: Universitetà degli Studi di Venezia, Dipartamento di Studi Eurasiatici, 1991.
  • Stanbrook, Alan. “The Return of Paradjanov.” Sight and Sound 55.4 (Autumn 1986): 257-261.
  • Steffen, James. “From Sayat Nova to The Color of Pomegranates: notes on the production and censorship of Parajanov’s film.” Armenian Review 47.3-4/48.1-2 (2001-2002): 105-147.
  • —. “From Sayat Nova to The Color of Pomegranates: notes ont he production and censorship of Parajanov’s film. Appendix: selected documents from the Goskino production and censorship files on The Color of Pomegranates.” Armenian Review 47.3-4/48.1-2 (2001-2002): 149-185.
  • —. “Parajanov’s Playful Poetics: On the ‘Director’s Cut’ of The Color of Pomegranates.” Journal of Film and Video 47.4 (Winter 1995-96): 17-32.
  • Steffen, James, ed. Sergei Parajanov. Special edition of Armenian Review 47.3-4/48.1-2 (2001-2002).
  • Suderberg, E. “Biographical states: the films of Sergei Parajanov.” Afterimage (September 1992): 8-11.
  • Tsereteli, Kora, ed. Sergei Paradzhanov: Kollazh na fone avtoportreta. Nizhnii Novgorod: DEKOM, 2005.
  • Vardanov, Mikhail. “Les Cimes du monde: Entretien avec Serguei Paradjanov.” Cahiers du cinéma 381 (March 1986): 43-47.
  • Williamson, Anne. “Prisoner: The Essential Paradjanov.” Film Comment 25.3 (May-June 1989): 57-63.

  Pentslin, Eduard (1903- ):

  • Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
  • Murashov, Iurii. “Slepye geroi–slepye zriteli: O statuse zreniia i slova v sovetskom kino.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 412-426.

  Perestiani, Ivan (1870-1959):

  • Maksimov, A.V. “Neulovimye d’iavoliata.” Kinovedcheskie zapiski 21 (1994): 57-80.

  Pichul, Vasilii (1961- ):

  • Abdullaeva, Zara. “Vne zakona” in Real’noe kino. Moskva: Tri kvadrata, 2003. 215-224.
  • —. “‘Eto ne Chekhov!'” in Real’noe kino. Moskva: Tri Kvadrata, 2003. 225-236.
  • —. “Zhdanov–Moskva–Sochi” in Real’noe kino. Moskva: Tri kvadrata, 2003. 205-24.
  • Beardow, Frank. Little Vera. KINOfile Film Companion 8. London: I.B. Tauris, 2003.
  • Eagle, Herbert. “The Indexicality of Little Vera and the End of Socialist Realism.” Contemporary SovietCinema. Ed. Vance Kepley, Jr. WideAngle 12.4 (October 1990): 26-37.
  • Horton, Andrew. “Little Vera.” Film Quarterly 13.4 (Summer, 1989): 18-21.
  • Khmelik, Maria. Little Vera. Trans Cathy Porter. London: Bloomsbury, 1990.
  • Moskvina, Tatyana. “Forward, Singing.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Plakhov, Andrei. “Soviet Cinema in the 90s.” Sight & Sound 58.2 (Spring 1989): 82-3.
  • Williamson, Anne. “Rubles of the Game.” Film Comment January-February, 1989: 23-26.

  Podnieks, Juris (1950-1992):

  • Anninsky, Lev. “Is It Easy to be Grown Up?” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Kiselev, Alexander. “Deafening Voids.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

  Pronin, Vasilii (1905-1966):

  • Hutchings, Stephen. “Ada/opting the Son: war and the authentication of power in Soviet screen versions of children’s literature.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 59-72.

  Proshkin, Aleksandr (1940- ):

  • Serikinskii, S. S. “Chetyre ‘Kapitanskie dochki’.” Otechestvennaia istoriia 6 (December 2003): 108-117.
  • Trofimenkov, Mikhail. “Birds of Passage.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

  Proskurina, Svetlana (1948 – ):

  • Wurm, Barbara. “In Focus: Svetlana Proskurina. The International Film Festival Rotterdam — A Festival of Significance for Russian Cinema.” KinoKultura 20 (April 2008).

  Protazanov, Iakov (1881-1945):

  • Aleinikov, M.N., ed. Iakov Protazanov: O tvorcheskom puti rezhissera. Moskva: Iskusstvo, 1957.
  • Arlazorov, Mikhail. Protazanov. Moskva: Iskusstvo, 1973.
  • Bagrov, Petr. “Protazanov i stanovlenie vysokoi komedii v russkom kino.” Kinovedcheskie zapiski 88 (2008): 215-232.
  • Christie, Ian. “Down to Earth: Aelita Relocated.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.
  • –. “Iakov Protazanov: A Timely Case for Treatment.” KinoKultura 9 (July 2005).
  • Christie, Ian and Julian Graffy, eds. Yakov Protazanov and the Continuity of Russian Cinema. Dossier 8. London: BFI/NFT, 1993.
  • Graffy, Julian. “The Foreigner’s Journey to Consciousness in Early Soviet Cinema: The Case of Protazanov’s Tommi.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 1-22.
  • Huber, Katja. Aelita als morgen gestern heite war: Die Zukunftsmodellierung in Jakov Protazanovs Film. Munich: Verlag Otto Sagner, 1998.
  • Kinovedcheskie zapiski 88 (2008). Special issue on Protazanov.
  • Kushnirov, M. Iakov Protazanov. Riga: SK Latvii, 1971.
  • Sandler, Stephanie. “Seeing and Knowing in Protazanov’s Film The Queen of Spades.” World, Music, History: A Festschrift for Caryl Emerson. Ed. Lazar Fleishman, Gabriella Safran, and Michael Wachtel. Stanford: Stanford UP, 2005. 279-290.
  • Vishevsky, Anatoly. “‘The Queen of Spades’ Revisited, and Revisited, and Revisited…” Russian Literature on the Silver Screen. Russian Studies in Literature 40.2 (Spring 2004): 20-33.
  • Youngblood, Denise. “Iakov Protazanov, the ‘Russian Griffith’.” Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. By Denise Youngblood. NY: Cambridge UP, 1992.
  • –. “The Return of the Native: Yakov Protazanov and Soviet Cinema.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.
  • –. “‘We Don’t Know What to Laugh At’: Comedy and Satire in Soviet Cinema (from The Miracle Worker to St. Jorgen’s Feast Day).” Inside Soviet Film Satire: Laughter With a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Zorkaia, Neia. “Ia. A. Protazanov.” In Istoriia otechestvennogo kino. Ed. Liudmila Budiak. Moskva: Progress-Traditsiia, 2005. 191-204.
  • –. “Iakov Protazanov i sovetskoe kinoiskusstvo 20-kh godov.” Voprosy kinoiskusstva 6 (1962): 165-91.

  Pudovkin, Vsevolod (1893-1953):

  • Aronson, Oleg. “Zvuk i vremia: Prostoi sluchai Vsevoloda Pudovkina.” Metakino. Moskva: Ad Marginem, 2003. 63-74.
  • Burns, Paul. “Linkage: Pudovkin’s Classics Revisited.” Journal of Popular Film and Television 9.2 (1981): 70-77.
  • Dart, Peter. Pudovkin’s Films and Film Theory. NY: Arno P, 1974.
  • Dobrenko, Evgenii. “Tri materi.” Iskusstvo kino 8 (2000): 96-111.
  • Gillespie, David. “Vsevolod Pudovkin: Conflict and Struggle As Film Art.” Early Soviet Cinema: Innovation, Ideology and Propaganda. By David Gillespie. London: Wallflower Pub., 2000. 59-70.
  • Karaganov, A. Vsevolod Pudovkin. Moskva: Iskusstvo, 1983.
  • Kepley, Vance, Jr. The End of St. Petersburg. KINOfiles Film Companion 10. London: I.B. Tauris, 2003.
  • —. “Pudovkin and the Classical Hollywood Tradition.” WideAngle 7.3 (Fall 1985): 53-61.
  • –. “Pudovkin and the Continuity Style: Problems of Space and Narration.” Discourse 17.3 (Spring 1995): 85-100.
  • –. “Pudovkin, Socialist Realism and the Classical Hollywood Style.” Journal of Film and Video 47.4 (1995-6): 3-6.
  • Marshall, Herbert. Masters of the Soviet Cinema: Crippled Creative Biographies. London: Routledge and Kegan Paul, 1983.
  • Mayne, Judith. “Mother and Son.” Kino and the Woman Question: Feminism and Soviet Silent Cinema By Judith Mayne. Columbus: Ohio State UP, 1989. 91-109.
  • Mini, Panayiota. “Pudovkin’s Cinema of the 1920s.” Diss. U of Wisconsin-Madison, 2002.
  • Petric, Vlada. “Vsevolod Pudovkin.” Cinema: A Critical Dictionary. Ed. Richard Roud. Vol. 2. NY: Viking P, 1980: 800-807
  • Pudovkin, Vsevolod. “Dve stat’i.” Iz istorii kino 8 (1971): 168-177.
  • –. Film Technique and Film Acting. Tr. Ivor Montagu. NY: Grove Press: 1949.
  • –. “Mother: a film by Pudovkin.” Two Russian Film Classics. Classic Film Scripts. NY: Simon and Schuster, 1973. 5-54.
  • –. Selected Essays. Ed. Richard Taylor. NY: Seagull Books, 2006.
  • –. Sobranie sochinenii. 3 vol. Moskva: Iskusstvo, 1966-69.
  • –. “Stanislavsky’s System in the Cinema.” Sight and Sound 22.3 (January 1953): 115-118.
  • Sargeant, Amy. Vsevolod Pudovkin: Classic films of the Soviet avant-garde. KINO, the Russian cinema series. London: I.B. Tauris, 2000.
  • Smith, Murray. “The Influence of Socialist Realism on Soviet Montage: The End of St. Petersburg, Fragment of an Empire, and Arsenal.” Journal of Ukrainian Studies 19.1 (1994): 45-65.
  • Sorlin, Pierre. “The Russian Revolution.” The Film in History: Restaging the Past. NY: Oxford UP, 1980. 159-188.
  • Zapasnik, T.E. and A.Ia. Petrovich, eds. Pudovkin v vospominaniakh sovremennikov. Moskva: Iskusstvo, 1989.

  Pyr’ev, Ivan (1901-1968):

  • “100-letie so dnia rozhdeniia I.A. Pyr’eva: Kubanskie kazaki: Materialy o fil’me.” Kinograf 11 (2002): 6-106.
  • Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
  • Mar’iamov, G.B. Ivan Pyr’ev v zhizni i na ekrane. Moskva: Kinotsentr, 1994.
  • Pyr’ev, Ivan. Izbrannye proizvedeniia v dvukh tomakh. Moskva: Iskusstvo, 1979.
  • –. O proidennom i perezhitom… Moskva: SK SSSR/Biuro propagandy sovetskogo kinoiskusstva, 1979.
  • Shilova, Irina. “Pyr’ev segodnia: Sergei Solov’ev, Vladimir Dashkevich, Aleksandr Mitta, Gleb Panfilov.” Kinovedcheskie zapiski 53 (2001): 4-14.
  • Taylor, Richard. “But eastward, look, the land is brighter: towards a topographyy of utopia in the Stalinist musical.” 100 Years of European cinema: Entertainment or ideology? Ed. Diana Holmes and Alison Smith. Manchester: Manchester UP, 2000. 11-26.
  • —. “K topografii utopii v stalinskom miuzikle.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 358-370.
  • —. “Singing on the Steppes for Stalin: Ivan Pyr’ev and the Kolkhoz Musical in Soviet Cinema.” Slavic Review 58.1 (Spring 1999): 143-159.
  • Turovskaia, Maia. “I. A. Pyr’ev i ego muzykal’nye komedii.” Kinovedcheskie zapiski. 1 (1988): 111-146.

  Raizman, Iulii (1903-1994):

  • Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.

  Razumnyi, Aleksandr (1891-1972):

  • Hutchings, Stephen. “Ada/opting the Son: war and authentication of power in Soviet screen versions of children’s literature.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 59-72.

  Razykov, Iusup (1957 – ):

  • Graham, Seth. “Iusup Razykov and Contemporary Uzbek Cinema.” KinoKultura 11 (January 2006).

  Reznikov, P.

  • Serikinskii, S. S. “Chetyre ‘Kapitanskie dochki’.” Otechestvennaia istoriia 6 (December 2003): 108-117.

  Riazanov, El’dar (1927- ):

  • Dobrenko, Evgeny. “Soviet Comedy Film: or, the Carnival of Authority.” Trans. Jesse M. Savage. Discourse 17.3 (Spring 1995): 49-57.
  • MacFadyen, David. The Sad Comedy of El’dar Riazanov: An Introduction to Russia’s Most Popular Filmmaker. Montreal and London: McGill-Queen’s UP, 2003.
  • Prokhorov, Alexander. “Cinema of Attractions versus Narrative Cinema: Leonid Gaidai’s Comedies and El’dar Riazanov’s Satires of the 1960s.” Slavic Review 62.3 (Fall 2003): 455-472.
  • Riazanov, El’dar. El’dar–TV, ili Moia portretnaia galereia. Moskva: Vagrius, 2003.
  • –. Ne podvedennye itogi. Moskva: Vagrius, 1995.
  • Riazanov, El’dar and Emil’ Braginskii. Sluzhebnyi roman. Akterskaia kniga. Moskva: AST: Zebra-E, 2007.
  • Slobin, Greta. “A Forgotten Flute and remembered Popular Tradition.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Timofeevsky, Alexander. “Scherzo–suite–nocturne.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Volobuev, O. V. “Posle XX s”ezda: Karnaval’naia noch’.” Otechestvennaia istoriia 6 (December 2003): 68-70.

  Riazantseva, Natal’ia (1938- ):

  • Riazantseva, Natal’ia. Golos i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2007.

  Rogozhkin, Aleksandr (1949- ):

  • Bykov, Dmitrii. “Identifikatsiia Rogozhkina, ili Ad absurdum.” Iskusstvo kino 5 (1999): 63-69.
  • Lipovetsky, Mark. “In the Cuckoo’s Nest: From a Postcolonial Wondertale to a Post-Authoritarian Parable.” In Russia and its Other(s) on Film: Screening Intercultural Dialogue . Ed. Stephen Hutchings. NY: Palgrave Macmillan, 2008. 62-76.
  • Norris, Stephen M. “Fools and Cuckoos: The Outisder as Insider in Post-Soviet War Films.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 142-162.

  Romm, Mikhail (1901-1971):

  • Beilenhoff, Wolfgang and Sabine Hänsgen. “Speaking about images: the voice of the author in Ordinary Fascism.” Studies in Russian and Soviet Cinema 2.2 (2008): 141-153.
  • Gabrilovich, Evgenii and Sergei Iutkevich. “Adventures and Encounters of a Scenarist.” Ed. Luda & Jean Schitzerand Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.
  • –. Kinotrilogiia o Lenine. Moskva: Progress, 1985.
  • Germanova I. and N. Kuz’mina, eds. Moi rezhisser Romm. Sbornik. Moskva: Iskusstvo, 1993.
  • Romm, Mikhail. Besedy o kino. Moskva: Iskusstvo, 1964.
  • –. Kak v kino. Nizhnii Novgorod: DEKOM, 2003.
  • –. “The Second generation.” Trans. David Robinson. Ed. Luda & Jean Schitzer and Marcel Martin. Cinema in Revolution. NY: Hill & Wang, 1973.
  • –. Ustnye rasskazy. Moskva: SK SSSR/Kinotsentr, 1989.
  • Romm, Mikhail, compl. “Obyknovennyi fashizm”: Shedevry sovetskogo kino. Moskva: Kinokontsern “Mosfil’m,” Rossiiskii gosudarstvenni arkhiv literatury i iskusstva, Izd. “Seans,” 2006.
  • Sesonske, Alexander. “Re-Editing History: Lenin in October, Then and Now.” Sight and Sound 53.1 (Winter 1983): 56-58.
  • Turovskaia, Maia. “Mosfil’m–1937.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Petersburg: Akademicheskii proekt, 2002. 277-294.
  • Turovskaya, Maya. “Some documents from the life of a documentary film.” Trans. Birgit Beumers. Studies in Russian and Soviet Cinema 2.2 (2008): 155-165.
  • Zak, Mark. Mikhail Romm i ego fil’my. Moskva: Iskusstvo, 1988.
  • –. Mikhail Romm i traditsii sovetskoi kinorezhissury. Moskva: Iskusstvo, 1974.

  Room, Abram (1894-1976):

  • Burns, P.E. “A NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in historical context.” Film and History 12.4 (1982): 73-81.
  • Graffy, Julin. “Bed and Sofa: The Film Companion.” KINOfile Film Companion 5. London: I.B. Tauris, 2001.
  • Grashchenkova, I. Abram Room. Moskva, 1977.
  • Hill, Stephen. “Bed and Sofa (Tretia Meshchanskaia).” Film Heritage 7.1 (1971): 17-20.
  • “K 100-letiiu Abrama Rooma: Kruglyi stol v Muzee Kino.” Kinovedcheskie zapiski. 24 (1994/5): 163-182.
  • Korotkii, V. “Tret’ia Meshchanskaia Abrama Rooma: nekotorye nachala analiza fil’ma. Stat’ia 1.” Tiani-Tolkai 1 (1993): 33-61.
  • Mayne, Judith. “Bed and Sofa and the Edge of Domesticity.” Kino and the Woman Question: Feminism and Soviet Silent Cinema By Judith Mayne. Columbus: Ohio State UP, 1989. 110-129.
  • Sullivan, B. “Bed and Sofa / Master of the House.” Women and Film 1 (1972): 21-25.
  • Youngblood, Denise. “The Fiction Film as a Source for Soviet Social History: The Third Meshchanskaia Street Affair.” Film and History 19.3 (1989): 50-60.
  • Zabrodin, Vladimir, ed. Abram Matveevich Room: materialy k retrospektive fil’mov. Moskva: Muzei kino, 1994.
  • Zorkaia, Neia. “Brak vtroem — sovetskaia versiia.” Iskusstvo kino 5 (1997): 89-97.
  • –. “Gendernye problemy v sovetskom kino 30-kh godov. “Liubovnyi treugol;nik” kak kul’turogicheskaia i sotsiologicheskaia problema (Kommentarii i Tret’ei Meshchanskoi A. Rooma).” Close-Up: Istoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996-1998 gody. Ed. Aleksandr Troshin. Moskva: VGIK, 1999. 210-218.
  • –. “Skandal’naia Tret’ia Meshchanskaia.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 49-64.

  Roshal’, Grigorii (1898-1983)

  • Rozen, Solomon. Grigorii Roshal’. Moskva: Iskusstvo, 1965.

  Rostotskii, Stanislav (1922-2001)

• Tsimbaev, N. I. “Na semi vetrakh: Fil’m o voine (nabliudeniia istorika).” Otechestvennaia istoriia 6 (December 2003): 82-91.
  

  4.10.5. Russian and Soviet Filmmakers: S-Z

  Sadilova, Larisa (1966- ):

  • “Larisa Sadilova: Do i posle debiuta.” Informatsionnyi biulleten’ 1 (40), January 1999. Moskva: Kinostudiia im. Gor’kogo. 8-10.
  • Makoveeva, Irina. “The Chronotope of the Maternity House.” Studies in Slavic Cultures 4 (2003): 33-41.
  • Sadilova, Larisa. “Nothing Personal (Nichego lichnogo, 2006).” Preface by Liubov’ Arkus. Studies in Russian and Soviet Cinema 2.1 (2008): 85-129.

  Saltykov, Aleksei (1934-1993)

  • Dimoni, T. M. “Predsedatel’: Sud’by poslevoennoi derevni v kinokartine pervoi poloviny 1960-kh godov.” Otechestvenannai istoriia 6 (December 2003): 91-101.

  Samoilova, Tat’iana (1934- )

  • Ivanova, Valentina. “Samoilova.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 261-269.

  Savchenko, Igor’ (1906-1950):

  • Igor’ Andreevich Savchenko, 1906-1950. Materialy k retrospektive fil’mov. Moskva: Muzei kino, 1996.
  • Margolit, Evgenii. “Zaklinanie eposom: Garmon’ Igoria Savchenko i genezis sovetskoi muzykal’noi komedii.” Kinovedcheskie zapiski. 13 (1992): 120-133.

  Shakhnazarov, Karen (1952- ):

  • Eagle, Herbert. “Socialist Realism and American Genre Film: The Mixing of Codes in Jazzman.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • Horton, Andrew. “Carnivals Bright, Dark, and Grotesque in the Glasnost Satires of Mamin, Mutafayev, and Shakhnazarov.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Shakhnazarov, Karen. Kur’er. Moskva: Red Fish, 2004.

  Shengelaia, El’dar (1933- ):

  • Christensen, Julia. “The Films of El’dar Shengelaya: From Subtle Humor to Biting Satire.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.

  Shengelaia, Georgii (1937- ):

  • Bogomolov, Iu.A. “Georgii Shengelaia.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986. 38-42.

  Shepit’ko, Larissa/Klimov, Elem:

  See entry for

  Klimov, Elem

  .

  Shostakovich, Dmitrii (1906-1975):

  • Riley, John. Dmitri Shostakovich: A Life in Film. The Filmmaker’s Companion 3. London: I.B. Tauris, 2005.

  Shub, Esfir (1894-1959):

  • Petríc, Vlada. “Esther Shub: Cinema is My Life.” Quarterly Review of Film Studies 3.4 (Fall 1978): 429-56.
  • Petríc, Vlada. “Esther Shub: Film as Historical Discourse.” “Show Us Life”: Toward a History and Aesthetics of the Committed Documentary. Ed. Thomas Waugh. Metuchen, NJ: Scarecrow, 1984. 21-46.
  • –. “Esther Shub’s Unrealized Project.” Quarterly Review of Film Studies 3.4 (Fall 1978): 429-56.
  • Roberts, Graham. “Esfir Shub: a suitable case for treatment.” Historical Journal of Film, Radio and Television 11.2 (1991): 149-159.

  Shukshin, Vasilii (1929-1974):

  • Fomin, Valerii. Peresechenie parallel’nykh: Lotianu, Il’enko, Ioseliani, Mansurov, Okeev, Panfilov, Shukshin. Moskva: Iskusstvo, 1976.
  • Gillespie, David C. “The Sounds of Music: Soundtrack and Song in Soviet Film.” Slavic Review 62.3 (Fall 2003): 473-490.
  • Givens, John. “Screening the short story: the films of Vasilii Shukshin.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 116-131.
  • Ivanova, Valentina. “Shukshin.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 232-243.
  • Shukshin, Vasilii. Kinopovesti. Moskva: Iskusstvo, 1975.
  • –. Povesti dlia teatra i kino. Moskva: Izvestiia, 1984.
  • Tiurin, Iurii. Kinematograf Vasiliia Shukshina. Moskva: Iskusstvo, 1984.
  • Zabolotskii, A. Shukshin v kadre i za kadrom. Moskva: Al’pari, 1997.
  • Zorkaia, Neia. “Kalina krasnaia–zaveshchanie Vasiliia Shukshina.” Krutitsia, vertitsia shar goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 139-150.

  Shumiatskii, Boris (1886-1938):

  • Bagaev, B. Boris Shumiatskii. Krasnoiarsk, 1974.
  • Shumiatskii, Boris. Kinomatografiia millionov. Moscow: Kinofotoizdat, 1935.
  • Taylor, Richard. “Boris Shumyatsky and Soviet Cinema in the 30s: Ideology as Mass Entertainment.” Historical Journal of Film, Radio and Television 6.1 (March 1986): 43-64.
  • –. “A ‘Cinema for the Millions’: Soviet Socialist Realism and the Problem of Film Comedy.” Journal of Contemporary History 18 (1983): 439-61.
  • –. “Ideology as Mass Entertainment: Boris Shumayatsky and Soviet Cinema in the 1930s.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.

  Shvarts, Evgenii (1896-1958):

  • Shvarts, Evgenii. Zolushka. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2006.

  Smirnova, Dunia (1969- ):

  • Smirnova, Dunia. S moroza. SPb: Seans / Amfora, 2007.
  • –. Sviaz’ i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2006.

  Smoktunovskii, Innokentii (1925-1994):

  • Smoktunovskii, Innokentii. Byt’. Moskva: Algoritm, 1999.

  Soiuzmul’tfil’m:

  1933: Soiuzdetmul’tfil’m
  1935: Soiuzmul’tfil’m

  • Venzher, Nataliia, ed. Sotvorenie fil’ma, ili neskol’ko interv’iu po sluzhebnym voprosam. Moskva: Kinotsentr, 1990.

  Sokurov, Aleksandr (1951- ):

  • Alaniz, José. “‘Nature’, illusion and excess in Sokurov’s Mother and Son.” Studies in Russian and Soviet Cinema 2.2 (2008): 183-204.
  • “Aleksandr Sokurov: Dni zatmenija.” URSS: Dal disgelo alla Perestroijka. Quadreno informativo XXV Mostra Internazionale del Nuovo Cinema. Pesaro, 1989. 48-57.
  • Arkus, Liubov’, ed. Sokurov. Sankt-Peterburg: Seans, 1994.
  • —. Sokurov: Chasti rechi. Sankt-Peterburg: Seans, 2006.
  • Aronson, Oleg. “Giperdokument, ili Svidetel’stvo o zhizni: Lenin po Aleksandru Sokurovu.” Metakino. Moskva: Ad Marginem, 2003. 173-183.
  • Beumers, Birgit. “And the Ship Sails On…: Sokurov’s Ghostly Ark of Russia’s Past.” Rossica 9 (Winter 2003): 56-59.
  • Buttafava, Giovanni. “Interview with Aleksandr Sokurov.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 35-44.
  • Buzhovich, Victor. “Out of Bounds.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Christie, Ian. “The Civilizing Russian.” Sight and Sound 13.4 (2003): 10-11.
  • Condee, Nancy. “Aleksandr Sokurov: Shuffling Off the Imperial Coil.” In The Imperial Trace: Recent Russian Cinema. By Nancy Condee. NY: Oxford UP, 2009. 159-184.
  • De Keghel, Isabelle. “Sokurov’s Russian Ark: Reflections on the Russia/Europe Theme.” In Russia and its Other(s) on Film: Screening Intercultural Dialogue . Ed. Stephen Hutchings. NY: Palgrave Macmillan, 2008. 77-94.
  • Galetski, Kirill. “The Foundations of Film Art: An Interview With Alexander Sokurov.” Cineaste 26.3 (summer 2001): 4-9.
  • German, Aleksey. “My Friend Aleksandr Sokurov.” Lenfilm and the Liberation of Cinema. Rotterdam: Rotterdam Film Festival, 1990. 30-34.
  • Harte, Tim. “A Visit to the Museum: Aleksandr Sokurov’s Russian Ark and the Framing of the Eternal.” Slavic Review 64.1 (Spring 2005): 42-58.
  • Hoberman, J. “And the Ship Sails On.” Film Comment 38.5 (September/October 2002): 54.
  • Iampolski, Mikhail. “Representation–Mimicry–Death: The Latest Films of Alexander Sokurov.” Russia on Reels: The Russian Idea in Post-Soviet Cinema. Ed. Birgit Beumers. London: I.B. Tauris, 1999. 127-143.
  • Iampol’skii, Mikhail. “Platonov, prochitannyi Sokurovym.” Kinovedcheskie zapiski 5 (1990): 53-67.
  • Ivanova, Valentina. “Sokurov.” Zapiski literaturnogo raba. Moskva: Sovetskii pisatel’, 2003. 254-261.
  • Jameson, Frederic. “History and Elegy in Sokurov.” Critical Inquiry 33.1 (Autumn 2006): 1-12.
  • Khrenova, D.N. “Litso i telo v kinematografe Aleksandra Sokurova.” Kinovedcheskie zapiski 33 (1997): 199-204.
  • Menashe, Louis. “Filming Sokurov’s Russian Ark: An Interview with Tilman Büttner.” Cineaste 28.3 (Summer 2003): 21-23.
  • Moskvina, Tatyana. “A Billion Years Before the End of Cinema.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Niney, François. “Alexandre Sokourov: La contemplation ironique.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 72-73
  • Schrader, Paul. “‘The History of an Artist’s Soul is a Very Sad History’: Interview with Aleksandr Sokurov.” Film Comment 33.6 (Dec. 1997): 20-25.
  • Sokurov, Aleksandr. “Interview with Aleksandr Sokurov.” Trans. Jeremi Szaniawski. Critical Inquiry 33.1 (Autumn 2006): 13-27.
  • Szaniawski, Jeremi. “Historic Space in Sokurov’s Moloch, Taurus and The Sun.” Studies in Russian and Soviet Cinema 1.2 (2007): 147-162.
  • Turovskaya, Maya. “Days of Eclipse.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Yampolski, Michail. “From Social Clichés to the Metaphysics of the Body.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 45-49.
  • Yampolsky, Mikhail. “Chekhov/Sokurov: Repetition and Recollection.” Postcommunism: Rethinking the Second World. New Formations 22 (Spring 1994): 48-58.
  • –. “Death in Cinema.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Aness Miller-Pogacar. Ann Arbor: U of Michigan P, 1995.
  • –. “The World as a Mirror of the Other World.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Zenzinov, A. B. “Fizicheskaia real’nost’: k reabilitatsii cherez deformatsiiu (ob igrovom kinematografe Aleksandra Sokurova.” Kinovedcheskie zapiski 33 (1997): 183-198.

  Solov’ev, Sergei (1944- ):

  • Boym, Svetlana. “Perestroika of Kitsch: Sergei Solov’ev’s Black Rose, Red Rose.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Shitova, V. “V svoem kontekste, ili ‘Dve pesni o rodine’ kinorezhissera Sergeia Solov’eva.” Kinovedcheskie zapiski 4 (1989): 22-34.
  • Timofeevsky, Alexander. “The Tenderest Shroud.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.

  Starewicz, Wladislaw (1882-1965):

  • Beatrice, Leona and François Martin. Ladislas Starewitch, 1882-1965. Paris: L’Harmattan, 2003.
  • Danks, Adrian. “Ladislaw Starewicz and The Mascot.” Sense of Cinema. April 2004. Senses of Cinema.

  LI>”Dolls in Motion: Starevitch Reveals Secrets.”

  World Film News and Television Progress

  . April 1936: 13.
  • Iampol’skii, Mikhail. “Starevich: Mimika nasekomykh i kul’turnaia traditsiia.” Kinovedcheskie zapiski 1 (1988): 84-90.
  • Levchenko, Ian. “Mezhdu kukloi i chertom: Vladislav Starevich i ekranizatsiia Gogolevskoi fantastiki.” Novoe Literaturnoe Obozrenie 61 (2003): 164-178.
  • Pagliano, Jean-Pierre. “Starewitch plus intime.” Positif 371 (1992): 90-91.
  • Pilling, Jayne, ed. Starewicz, 1882-1965. Edinburgh: 37th Edinburgh International Film Festival, 1983.
  • Potamkin, Harry. “Ladislas Starevich and his Doll Films.” Theatre Guild Magazine 7.3 (1929): 1-2.
  • Schneider, Eric. “Entomology and Animation: A Portrait of An Early Master Ladislaw Starewicz.” Animation World Magazine 5.02 (May 1, 2000). Animation World Magazine.
  • Tsivian, Yuri. “The Case of the Bioscope Beetle: Starewicz’s Answer to Genetics.” Discourse: Journal for Theoretical Studies in Media and Culture 17 (1995): 119-125.

  Stol’per, Aleksandr (1907-1979):

  • Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.
  • Lahusen, Thomas. “Thousand and One Nights in Stalinist Culture: Far From Moscow.” Discourse 17.3 (Spring 1995): 58-74.
  • Murashov, Iurii. “Slepye geroi–slepye zriteli: O statuse zreniia i slova v sovetskom kino.” Sovetskoe bogatstvo: Stat’i o kul’ture, literature i kino. Ed. Marina Balina, Evgenii Dobrenko, and Iurii Murashov. St. Peterburg: Akademicheskii proekt, 2002. 412-426.
  • Prokhorov, Alexander. “Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The Cranes Are Flying.” Imitations of Life: Two Centuries of Melodrama in Russia. Ed. Louise McReynolds and Joan Neiberger. Durham: Duke UP, 2002: 208-231.

  Surikova, Alla (1940- ):

  • Smirnov, V.E. “Alla Surikova.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986. 35-38.

  Suzdal Animation Film Festival

  • Lukinykh, Natal’ia. “Inspired by the Oscar, Hardened by the Marketplace (On the Everydays and Holidays of Russian Animation.” Trans. Vladimir Padunov. KinoKultura 13 (July 2006).

  Tarich, Iurii (1885-1967)

  • Serikinskii, S. S. “Chetyre ‘Kapitanskie dochki’.” Otechestvennaia istoriia 6 (December 2003): 108-117.

  Tarkovskii, Andrei (1932-1986):

  • Anninskii, Lev. Shestidesiatniki i my, Moskva: Kinotsentr, 1991.
  • Barratt, Andrew. “In the Name of the Father: The Eisenstein Connection in Films by Tarkovsky and Askoldov.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 148-160.
  • Bird, Robert. Andrei Tarkovsky: Elements of Cinema. London: Reaktion Books, 2008.
  • –. Andrei Rublev. BFI Film Classics. London: BFI Publishing, 2005.
  • Boldyrev, Nikolai. Stalker, ili Trudy i dni Andreia Tarkovskogo. Cheliabinsk: Izd. Ural L.T.D., 2002.
  • –. Zhertvoprinoshenie Andreia Tarkovskogo. Moskva: Vagrius, 2004.
  • Borin, Fabrizio. La arte allo speggio: il cinema de Andrej Tarkovskij. Rome: Jouvence, 2004.
  • DeBaecque, Antoine. Andrei Tarkovski. Paris: Éditions de l’Étoile/Cahiers du cinéma< 1989.
  • Dunne, Nathan, ed. Tarkovsky. London: Black Dog Publishing, 2008.
  • Evlampiev, Igor’. Khudozhestvennaia filosofiia Andreia Tarkovskogo. St. Petersburg: Aleteiia, 1991.
  • Filippov, Sergei. “Teoriia i praktika Andreia Tarkovskogo.” Kinovedcheskie zapiski 56 (2002): 41-88.
  • Green, Peter. Andrei Tarkovsky: The Winding Quest. Basingstoke, Hampshire: Macmillan, 993.
  • Hancock, Stuart C. “Andrei Tarkovsky: Master of the Cinematic Image.” Mars Hill Review 4 (Winter/Spring 1996): 136-146. Mars Hill Review.
  • Hillman, Roger. “Tarkovsky’s Odes to… Joy?” Slavic and East European Performance 17.3 (Fall 1997): 31-6.
  • Iaropolov, Iaroslav, sost. Andrei Tarkovskii. Moskva: Algoritm, 2002.
  • Johnson, Vida. “Eisenstein and Tarkovsky: A Montage of Attractions.” Eisenstein at 100: A Reconsideration. Ed. Al LaValley and Barry P. Scherr. New Brunswick: Rutgers UP, 2001. 161-168.
  • —. “Laughter Beyond the Mirror: Humor and satire in the Cinema of Andrei Tarkovsky.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • — and Graham Petrie. The Films of Andrei Tarkovsky: A Visual Fugue. Bloomington: Indiana UP, 1994.
  • –. “Tarkovsky.” Five Filmmakers: Tarkovsky, Forman, Polanski, Szabó, Makavejev. Ed. Daniel J. Goulding. Bloomington: Indiana UP, 1994.
  • Jünger, Hans-Dieter. Kunst der Zeit under des Erinnerns: Andrej Tarkowskijs Konzept des Films. Ostfildern: Ed. Tertium, 1995.
  • Karriker, Alexandra Heidi. “Patterns of Spirituality in Tarkovsky’s Later Films.” Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Ed. Graham Petrie and Ruth Dwyer. Lanham: UP of America, 1990.
  • Kinovedcheskie zapiski 14 (1992). Special issue devoted to the 60th anniversary of Andrei Tarkovskii’s birth.
  • Kononenko, Nataliia. “Amorfnoe vremia muzykal’nykh introspektsii Andrei Tarkovskogo.” Iskusstvoznanie XXXI (1, 2008): 160-175.
  • Král, Petr. “Tarkovsky, or the Burning House.” Trans. Kevin Windle. Slavic and East European Performance 15.3 (Fall 1995): 51-57; 16.1 (Winter 1996): 51-57; 16.2 (Spring 1996): 50-56.
  • Kus’merchik, Severin. “Stalker kak ikona.” Kinovedcheskie zapiski 3 (1989): 176-184.
  • Leach, Jim. “Hideousness and Beauty: A Reading of Tarkovsky’s The Sacrifice.” Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Ed. Graham Petrie and Ruth Dwyer. Lanham: UP of America, 1990.
  • Lefanu, Mark. The Cinema of Andrei Tarkovsky. Urbana: U of IL P, 1988.
  • Liu, Ian’pin. “Simvolika Tarkovskogo i daosizm.” Kinovedcheskie zapiski 9 (1991): 154-165.
  • Macgillvray, James. “Andrei Tarkovsky’s Madonna del Parto.” Revue canadienne d’études cinématographiques. 11.2 (Fall 2002): 82-99.
  • Makolkina, Anna. “A Nostalgic Vision of Tarkovsky’s Nostalgia.” Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Ed. Graham Petrie and Ruth Dwyer. Lanham: UP of America, 1990.
  • Nardin, Massimo. Evocare l’inatteso: lo sgurado transfigurante nel cinema di Andrej Tarkovskij. Milan: ANCCI, 2002.
  • Petrovskii, I.M. “Andrei Tarkovskii i Fedor Tiutchev.” Kinovedcheskie zapiski 9 (1991): 169-182/
  • Rostotskaia, M., ed. Andrei Tarkovskii: nachalo … i puti. Moskva: VGIK, 1994.
  • Salynskii, Dmitrii. “Kanon Tarkovskogo.” Kinovedcheskie zapiski 56 (2002): 6-40.
  • —. “Kinogermenevtika Tarkovskogo.” Kinovedcheskie zapiski 31 (1996): 188-198.
  • Sandler, A.M., ed. Mir i fil’my Andreia Tarkovskogo. Moskva: Iskusstvo, 1991.
  • Semeniuk, V.K. “Za Zerkalom.” Kinovedcheskie zapiski 9 (1991): 183-186.
  • Shemiakin, Andrei. “Konchalovskii i Tarkovskii: Vmest i vroz.” Kinematograf ottepeli. Kniga vtoraia. Ed. Vitalii Troianovskii. Moskva: Materik, 2002. 228-300.
  • Shepotinnik, Peter. “With Perestroika, Without Tarkovsky.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • Shumakov, S.L. “V poiskakh utrachennogo slova.” Kinovedcheskie zapiski 3 (1989):163-175.
  • Siladi, Akosh and Andrash Balint Kovach. “‘Zona’ i ‘narushiteli’.” Kinovedcheskie zapiski 3 (1989): 185-191.
  • Smith, Alexandra. “Andrei Tarkovsky as Reader of Arsenii Tarkovsky’s Poetry in the Film Mirror.” Russian Literature on the Silver Screen (II). Russian Studies in Literature. 40.3 (Summer 2004): 46-63.
  • Surkova, Ol’ga. “Avtobiograficheskie motivy v tvorchestve Andreia Tarkovskogo.” Kinovedcheskie zapiski 9 (1991): 187-193.
  • –. Kniga sopostanovlenii: Tarkovskii–79. Moskva: Kinotsentr, 1991.
  • –. S Tarkovskim i o Tarkovskom. Moskva: Raduga, 2005.
  • –. Tarkovskii i Ia Moskva: Eskmo, 2002.
  • Synessios, Natasha. Mirror. KINOfile Film Companion 6. London: I.B. Taurus, 2001.
  • Talybov, Aidyn. “Sakral’naia zona magistra ili prostranstvo zrimykh oshchushchenii.” Kinovedcheskie zapiski 9 (1991): 166-168.
  • Tarkovskaia, Marina A., comp. About Andrei Tarkovsky. Moskva: Progress, 1990.
  • –. O Tarkovskom. Moskva: Progress, 1989.
  • –. O Tarkovskom: Vospominaniia v dvukh tomakh. Moskva: Dedalus, 2002.
  • Tarkovsky, Andrei. Andrei Roublev. Paris: Les éditeurs françaises réunis, 1970.
  • –. Andrej Rubljow: Filmtext und Dokumente. Kinemathek 41 (July, 1969).
  • –. Sculpting in Time: Reflections on the Cinema. Tr. Kitty Hunter-Blair. London: The Bodley Head, 1986.
  • –. Time Within Time: The Diaries, 1970-1986. Trans. Kitty Hunter-Blair. Calcutta: Seagull, 1991.
  • Tiurin, Iurii. “Andrei Rublev” in Perpsektiva pamiati. Moskva: Materik, 2004. 6-51.
  • Turovskaya, Maya. Tarkovsky: Cinema as Poetry. Tr. Natasha Ward. London: Faber and Faber, 1989.
  • Turovskaia, Maia. “Peisazh dushi posle ispovedi.” Kinovedcheskie zapiski 3 (1989): 153-162.
  • –. 7 1/2 ili fil’my Andreia Tarkovskogo. Moskva: Iskusstvo, 1991.
  • Zorkaia, Neia. “Andrei Rublev i sud’ba Andreia Tarkovskogo.” Krutitsia, vertitsia shar goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 151-172.

  Timoshenko, Semen (1899-1958):

  • Haynes, John. “Film as Political Football: The Goalkeeper.” Studies in Soviet and Russian Cinema 1.3 (2007): 283-297.
  • Kaganovsky, Lilya. How the Soviet Man was Unmade: Cultural Fantasy and Male Subjectivity under Stalin. Pittsburgh: U of Pittsburgh P, 2008.

  Todorovskii, Petr (1925- ):

  • Bogomolov, Iurii. Petr Todorovskii: tvorcheskii portret. Moskva: Soiuzinformkino, 1989.
  • Larsen, Susan. “Melodramatic Masculinity, National Identity, and the Stalinist Past in Postsoviet Cinema.” Studies in 20th Century Literature: Russian Culture of the 1990s. Ed. Helena Goscilo) 24.1 (Winter 2000): 85-120.

  Trauberg, Leonid (1901-1990):

  • Chanyshev, I.I., comp. Trilogiia o Maksime. Shedevry mirovogo kino. Moskva: Iskusstvo, 1981.
  • Houten, Theodore van. “‘Eisenstein was Great Eater’: In Memory of Leonid Trauberg.” Buren, Netherlands: Arts & Research/Graduate Press, 1991.
  • —. “Leonid Trauberg and His Films: Always the Unexpected.” Buren, Netherlands: Arts & Research/Graduate Press, 1989.
  • 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.
  • Nedobrovo, Vladimir. FEKS: Grigorii Kozintsev. Leonid Trauberg. Moskva-Leningrad: Kinopechat’, 1928.
  • Trauberg, Leonid. Chai na dvoikh. Moskva: Kinotsentr, 1993.
  • –. Izbrannye proizvedeniia v dvukh tomakh. Moskva: Iskusstvo, 1988.
  • Zorkaia, Neia. “Iunost’ Maksima kak prikliuchencheskaia lenta.” Krutitsia, vertitsia shat goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 95-108.

  Tsukerman, Slava:

  • Batchan, Alexander. “The ‘Alienation’ of Slava Tsukerman.” Before the Wall Came Down: Soviet and East European Filmmakers Working in the West. Ed. Graham Petrie and Ruth Dwyer. Lanham: UP of America, 1990.

  Tsymbal, Evgenii (1949 – ):

  • Nichols, Mary A. “Genuine Facts and Real People: The Tale of the Unextinguished Moon in Fiction and Film.” Russian Literature on the Silver Screen. Russian Studies in Literature. 40.2 (Spring 2004): 78-97.

  Turin, Viktor (1895-1945):

  • Payne, Matthew J. “Viktor Turin’s Turksib (1929) and Soviet Orientalism.” Historical Journal of Film, Radio and Television 21.1 (2001): 37-62.

  Uchitel’, Aleksei (1951- ):

  • Samutina, Natal’ia. “Prazdnik neodnoznachnosti, ili kak sdelan Dnevnik ego zheny Alekseia Uchitelia.” Neprikosnovennyi zapas 2 (16) 2001: 100-105.
  • Sirivlia, Natal’ia. “Velikii i nevynosimyi.” SK–Novosti 27 (63) 2000: 12.

  Urusevskii, Sergei (1908-1974):

  • Merkel’, Maia. “S.P. Urusevskii.” Desiat’ operatorskikh biografii. Ed. Marina Goldovskaia. Moskva: Iskusstvo, 1978. 177-195.
  • —. Ugol zreniia (Dialogi s Urusevskim). Moskva: Iskusstvo, 1980.
  • Urusevskii, Sergei. S kinokameroi i za mol’bertom. Moskva: Algoritm, 2002.

  Valutskii, Vladimir (1936- ):

  • Pervaia vstrecha, posledniaia vstrecha… i drugie kinostsenarii. Biblioteka Kinodramaturga. SPb: Seans / Amfora, 2008/

  “Vasil’ev Brothers”:
  Vasil’ev, Georgii (1899-1946) and Vasil’ev, Sergei (1900-1959):

  • “Brat’ia Vasil’evy.” Sobranie sochinenii v trekh tomakh. Moskva: Iskusstvo, 1981-1983.
  • Dobrenko, Evgeny. “Creation Myth and Myth Creation in Stalinist Cinema.” Studies in Russian and Soviet Cinema 1.3 (2007): 239-264.
  • Hicks, Jeremy. “Educating Chapaev: from document to myth.” Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the word. London: RoutledgeCurzon, 2005. 44-58.
  • Klado, N. and D. Shpirkan, comp. Brat’ia Vasil’evy: Zhizn’ i tvorchestvo. Moskva: Biuro propagandy sovetskogo kinoiskusstva, 1978.
  • Tarabukin, N.M. “Smysl diagonal’nykh postroenii v kompozitsii fil’ma Chapaev.” Kinovedcheskie zapiski 56 (2002): 115-128.
  • Zorkaia, Neia. “Chapaev i teplota.” Krutitsia, vertitsia shar goluboi: Desiat’ shedevrov sovetskogo kino. Moskva: Znanie, 1998. 79-94.

  Vertov, Dziga [Denis Kaufman] (1896-1954):

  • Aronson, Oleg. “Kommunizm vrasplokh: Neokonchennyi eksperiment Dzigi Vertova.” Metakino. Moskva: Ad Marginem, 2003. 75-89.
  • Bordwell, David. “Dziga Vertov: An Introduction.” Film Comment 8.1 (Spring 1972): 38-45.
  • Bulgakowa, Oksana. “Von der Erfindung des Films zum zweiten Mal.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 103-117.
  • Cook, Simon. “‘Our Eyes, Spinning Like Propellers’: Wheel of Life, Curve of Velocities, and Dziga Vertov’s ‘Theory of the Interval’.” In New Vertov Studies. Ed. Malcolm Turvey and Annette Michelson. October 121 (Summer 2007): 79-91.
  • Crofts, Stephen and Olivia Rose. “An Essay towards Man with the Movie Camera.” Screen 18.1 (1977): 9-57.
  • Depretto, Jean-Paul. “La Symphonie du Donbass (1931) de Dziga Vertov.” In Le Cinéma “stalinien”: Questions d’histoire. Ed. Natacha Laurent. Toulouse: Presses Universitaires de Mirail, 2003. 153-165.
  • Drubek-Meyer, Natascha and Jurij Murasov, eds. Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000.
  • Dziga Vertov zum 100. Geburtstag. Special issue of Maske und Kothurn: International Beiträge zur Theaterwissenschaft. 42.1 (1996).
  • Eisenschitz, Bernard. “Maiakovski. Vertov.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 26-30.
  • Feldman, Seth R. “‘Cinema Weekly’ and ‘Cinema Truth’: Dziga Vertov and the Leninist Film Proportion.” “Show Us Life”: Toward a History and Aesthetics of Committed Documentary. Ed. Thomas Waugh. Metuchen, NJ: Scarecrow P, 1984. 3-20.
  • –. Dziga Vertov: A Guide to References and Resources. NY: G.K. Hall & Co., 1979.
  • –. The Evolution of Style in the Early Work of Dziga Vertov. NY: Arno P, 1977.
  • Fischer, Lucy. “Enthusiasm: From Kino-Eye to Radio-Eye.” Film Quarterly 31.2 (Winter 1977-78): 247-64.
  • Gillespie, David. “Dziga Vertov: Life Caught Unawares.” Early Soviet Cinema: Innovation, Ideology and Propaganda. By David Gillespie. London: Wallflower Pub., 2000. 71-82.
  • —. “The Man with a Movie Camera: Man and machine.” Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower, 2000. 79-82.
  • Hicks, Jeremy. Dziga Vertov: Defining Documentary Film. London: I. B. Tauris, 2007.
  • Kanzog, Klaus. “Internationale Religiosität. Elementarstrukturen der visuellen Rhetorik in Dziga Vertovs Drei Lieder über Lenin.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 201-220.
  • Kujundzic, Dragan. “Dziga Vertov or the Return of the Sight (Five Intervals).” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 171-199.
  • Kukuy, Ilja. “‘Verschiedenes über dasselbe’: Vertov und Godard.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 89-102.
  • Listov, Viktor. “Vertov–Einst und für immer.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 17-42.
  • –. “Vertov: odnazhdy i vsegda.” Kinovedcheskie zapiski 18 (1993): 121-43.
  • MacKay, John. “Allegory and Accomodation: Vertov’s Three Songs of Lenin (1934) as a Stalinist Film.” Film History: An International Journal 18.4 (2006): 376-391.
  • —, “Disorganized Noise: Enthusiasm and the Ear of the Collective.” KinoKultura 7 (January 2005).
  • –. “Film Energy: Process and Metanarrative in Dziga Vertov’s The Eleventh Year.” In New Vertov Studies. Ed. Malcolm Turvey and Annette Michelson. October 121 (Summer 2007): 41-78.
  • —. “The ‘Spinning Top’ Takes Another Turn: Vertov Today.” KinoKultura 8 (April 2005).
  • Marshall, Herbert. Masters of the Soviet Cinema: Crippled Creative Biographies. London: Routledge and Kegan Paul, 1983.
  • Mayne, Judith. “Man With a Movie Camera and Woman’s Work.” Kino and the Woman Question: Feminism and Soviet Silent Cinema By Judith Mayne. Columbus: Ohio State UP, 1989. 154-183.
  • Michelson, Annette. “From Magician to Epistemologist: The Man With the Movie Camera.” Maske und Kothurn: International Beiträge zur Theaterwissenschaft: Dziga Vertov zum 100. Geburtstag 42.1 (1996): 54-74.
  • –. “The Kinetic Icon and the Work of Mourning: Prologomena to the Analysis of a Textual System.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • –. “The Kinetic Icon in the Work of Mourning: Prolegomena to the Analysis of a Textual System.” October 52 (Spring 1990): 17-51.
  • –. “The Man With a Movie Camera: From Magician to Epistemologist.” Artforum 10.7 (Feb 1971): 60-72.
  • Murasov, Jurij. “Die Frau im Zeitalter ihrer kinematographischen Reproduzierbarkeit. Vertov’s Wiegenlied und das Don-Juan-Syndrom.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 221-245.
  • Papazian, Elizabeth Astrid. Manufacturing Truth: The Documentary Moment in early Soviet Culture. DeKalb: Northern Illinois UP, 2009.
  • Petric, Vlada. “Cinematic Abstraction as a Means of Conveying Ideological Messages in The Man With the Movie Camera. The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • –. Constructivism in Film: The Man with a Movie Camera. NY: Cambridge UP, 1987.
  • –. “The Difficult Years of Dziga Vertov: Excerpts from his Diaries.” Quarterly Review of Film Studies 7.1 (Winter 1982): 7-21.
  • –. “Dziga Vertov as Theorist.” Cinema Journal 18.1 (Fall 1978): 29-44.
  • —. “Vertov, Lenin and Perestroika: The Cinematic Transposition of Reality.” Historical Journal of Film, Radio and Television 15.1 (1995): 3-17.
  • –. “Vertov’s Cinematic Transposition of Reality.” Beyond Document: Essays on Nonfiction Film. Ed. Charles Warren. Hanover, NH: Wesleyan UP, 1996.
  • Roberts, Graham. Forward Soviet!: History and Non-Fictuion Film in the USSR. London: I.B. Tauris, 1999.
  • –. The Man With the Movie Camera. KINOfiles Film Companion 2. London: I.B. Tauris, 2000.
  • Rogova, V. “Fenomen D. Vertova: Shtrikhi k politicheskomu portretu.” Tiani-Tolkai 2 (1994): 27-48.
  • Roshal’, L. Dziga Vertov. Moskva: Iskusstvo, 1982.
  • –. “Stikhi kinopoeta.” Kinovedcheskie zapiski 21 (1994):80-96.
  • Sadoul, Georges. “Sur Vertov.” Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 19-25.
  • –. Dziga Vertov. Preface Jean Rouche. Paris: Éditions Champ Libre, 1971.
  • Sarkisova, Oksana. “Across One Sixth of the World: Dziga Vertov, Travel Cinema, and Soviet Patriotism.” In New Vertov Studies. Ed. Malcolm Turvey and Annette Michelson. October 121 (Summer 2007): 19-40.
  • Schmitz, Norbert M. “Die Geburt des Films aus dem Geiste des Kommunismus.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 73-88.
  • Spieker, Sven. “Orthopädie und Avantgarde. Dziga Vertovs Filmauge aus prothetischer Sicht.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 73-147-169.
  • Stollery, Martin. “Kino-eye’s Global Vision.” Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Exeter: U of Exeter P, 2000. 100-139.
  • —. “Montage, Modernity and Ethnicity.” Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Exeter: U of Exeter P, 2000. 59-99.
  • Taylor, Richard. “Three Songs of Lenin.” Film Propaganda: Soviet Russia and Nazi Germany. 2^nd rev. ed. London: Taurus, 1998.
  • Tode, Thomas. “Ein Russe auf dem Eifelturm. Vertov in Paris.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 43-72.
  • Tode, Thomas and Barbara Wurm, eds. Dziga Vertov: The Vertov Collection at the Austrian Film Museum. Vienna: SYNEMA, 2006.
  • Tsivian, Yuri. “Dziga Vertov’s Frozen Music: Cue Sheets and a Music Scenario for The Man with the Movie Camera.” Griffithiana 54 (October 1995): 92-121.
  • –. “Einige Überlegungen zur Struktur des Films Der Mann mit der Kamera.” Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov. Ed. Natascha Drubek-Meyer and Jurij Murasov. Berliner Slawistische Arbeiten 8. Frankfurt: Peter Lang, 2000. 119-146.
  • –. “Man with a Movie Camera–Lines of Resistance: Dziga Vertov and the Twenties.” Masterpieces of Modernist Cinema. Ed. Ted Perry. Bloomington: Indiana UP, 2006. 85-110.
  • –. “Man With a Movie Camera, Reel One: A Selective Glossary.” Film Studies 2 (Spring 2000): 51-76.
  • –. “Turning Objects, Toppled Pictures: Give and Take between Vertov’s Films and Constructivist Art.” In New Vertov Studies. Ed. Malcolm Turvey and Annette Michelson. October 121 (Summer 2007): 92-110.
  • Tsivian, Yuri, ed. Lines of Resistance: Dziga Vertov and the Twenties. Sacile/Pordenone: Le Giornate del Cinema Muto, 2004.
  • Turvey, Malcolm. “Vertov: Between the Organism and the Machine.” In New Vertov Studies. Ed. Malcolm Turvey and Annette Michelson. October 121 (Summer 2007): 5-18.
  • Vertov, Dziga. Articles, journaux, projets. Trans. Sylvanie Mossé and Andrée Robel. Paris: 10/18, 1972.
  • –. “Doklad na Pervoi Vsesoiuznoi konferentsii po zvukovomu kino.” Iz istorii kino 8 (1971): 178-189.
  • –. Iz naslediia. vol. 1: Dramaticheskie opyty. Moskva: Eizenshtein-Tsentr, 2004.
  • –. Iz naslediia. vol. 2: Stat’i i vystupleniia. Moskva: Eizenshtein-Tsentr, 2008.
  • –. Kino-Eye: The Writings of Dziga Vertov. Tr. Kevin O’Brien. Ed. Annette Michelson. U of CA P, 1984.
  • –. “‘Kogda snimat’ drug druga budete, ne snimaites’ bez kinoapparatov…’ Pis’mo Dzigi Vertova kinooperatoram.” Kinovedcheskie zapiski 30 (1996): 193-196.
  • –. “Tvorcheskaia kartochka.” Kinovedcheskie zapiski 30 (1996): 1161-192.
  • Vertova-Svilova, E.I. and A.L. Vinogradova, comp. Dziga Vertov v vospominaniiakh sovremennikov. Moscow: Iskusstvo, 1976.
  • Zourabichvili, François. “The Eye of Montage: Dziga Vertov and Bergsonian Materialism.” The Brain is the Screen: Deleuze and the Philosophy of Cinema. Ed. Gregory Flaxman. Trans. Melissa McMahon. Minneapolis: U of MN Press, 2000. 141-149.

  VGIK [All-Russian Institute for Filmmaking named for Sergei Gerasimov]:

  1 Sept 1919: establishment of Film Technicum
  1924: reorganized into Higher State Studios
  1925: renamed State Technicum for Filmmaking (GTK)
  1930: renamed State Institute for Filmmaking (GIK)
  1934: renamed All-Union Institute for Filmmaking (until 1991)
  1986: “named for Sergei Gerasimov” added

  • Miller, Jamie. “Educating the Filmmakers: The State Institute of Cinematography in the 1930s.” The Slavonic and East European Review 85.3 (July 2007): 462-490.
  • Troshin, Aleksandr, ed. Close-Up: Istoriko-teoreticheskii seminar vo VGIKe: Lektsii 1996-1998 gody. Moskva: VGIK, 1999.

  Vladivostok International Pacific Meridian Film Festival:

  • Birchenough, Tom. “Vladivostok 2007.” KinoKultura 18 (October 2007).

  Zakharov, Mark (1955- ):

  • Gorin, Grigorii. Formula liubvi: Povesti i p’esy dlia teatra i kino. Ekaterinburg: Lad’, 1994.

  Zarkhi, Aleksandr (1908-1997):

  • Abol’nik, O.G. “Aleksandr Zarkhi.” Rezhissery sovetskogo khudozhestvennogo fil’ma. vyp. 3. Moskva: Soiuzinformkino, 1986.16-20.
  • Zarkhi, Aleksandr. Moi debiuty. Moskva: Iskusstvo, 1985.

  Zel’dovich, Aleksandr (1958 – ):

  • Abdullaeva, Zara. “Moskva — Moskva” in Real’noe kino. Moskva: Tri kvadrata, 2003. 237-246.

  Zerkalo: Andrei Tarkovskii International Film Festival:

  • Hicks, Jeremy. “Reflections of Andrei Tarkovskii: The Zerkalo Festival and Conference.” KinoKultura 18 (October 2007).