University of Pittsburgh
Russian and Soviet Cinema: Bibliography

4. Russo-Soviet Cinema

4.7. Russo-Soviet Cinema: Perestroika and the Post-Soviet Period, 1986-
  • Aleinikov, Gleb. “On Cine-Fantom‘s ‘New’ Criticism as the Corpus Callosum of Film Cognition.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Anessa Miller-Pogacar. Ann Arbor: U of Michigan P, 1995.
  • Batchan, Alexander. “Andrei Plakhov and the Work of the Conflicts Commission.” Contemporary Soviet Cinema. Ed. Vance Kepley, Jr. WideAngle 12.4 (October 1990): 76-81.
  • Binder, Eva and Christine Engel, eds. Eisenstiens Erben: Der sowjetische Film vom Tauwetter zur Perestrojka (1953-1991). Innsbruck: Innsbrucker Beiträge zur Kulturwissenschaft, 2002.
  • Beumers, Birgit. “Cinemarket, or the Russian Film Industry in ‘Mission Possible’.” Europe–Asia Studies, 51.5 (1999): 871-896.
  • Bogomolov, Yuri. “Cinema for Every Day.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Bonnell, Victoria E. and Gregory Freidin. “Televorot: The Role of Television Coverage in Russia’s August 1991 Coup.” Soviet Hieroglyphics: Visual Culture in Late Twentieth-century Russia. Ed. Nancy Condee. London/Bloomington: BFI/Indiana UP, 1995. 22-51.
  • Boym, Svetlana. “Post-Soviet Cinematic Nostalgia: From ‘Elite Cinema’ to Soap Opera.” Discourse 17.3 (Spring 1995): 75-84.
  • –. “Stalin is With Us: Soviet Documentary Mythologies of the 1980s.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • Brashinsky, Michael. “The Anthill in the Year of the Dragon.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • –. “Closely Watched Drains: Notes By a Dilletante on the Soviet Absurdist Film.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • — and Andrew Horton, eds. Russian critics on the cinema of Glasnost. NY: Cambridge UP, 1994.
  • Broude, Inna. Takoe vot kino…: Russkie fil’my 1990-kh. Tenafly, NJ: Hermitage Pubs, 2001.
  • Budiak, Liudmila M. “We Cannot Live This Way: Reflections on the State of Contemporary Soviet Film.” Film Quarterly 44.2 (Winter 1990-91): 28-33.
  • Carte blanche á l’Union des cinéastes d’URSS. Quimper, 1987.
  • Christie, Ian. “The Cinema.” Culture and Media in the USSR Today. Ed. Julian Graffy and Geoffrey A. Hosking. Basingstoke, Hampshire: Macmillan, 1989.
  • Cieri, Marie and Igor Aleinikov. Red Fish in America. Cambridge: The Arts Co., 1990.
  • Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990).
  • Clark, Katerina. “Aural Hieroglyphics?: Some Reflections on the Role of Sound in Recent Russian Films and Its Historical Context.” Soviet Hieroglyphics: Visual Culture in Late Twentieth-century Russia. Ed. Nancy Condee.London/Bloomington: BFI/Indiana UP, 1995.
  • Condee, Nancy. “The Dream of Well-Being.” Sight and Sound 12, 1997: 18-21.
  • –. The Imperial Trace: Recent Russian Cinema. NY: Oxford UP, 2009.
  • Condee, Nancy and Vladimir Padunov. “The Outposts of Official Art: Recharting Soviet Cultural History.” Framework 34 (1987): 59-107.
  • Contemporary Soviet Cinema. Guest ed. Vance Kepley, Jr. WideAngle 12.4 (1990).
  • Daney, Serge. “Voyages entre les images: Espaces sans distances.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 8-14.
  • Daniélou, Laurent. “Sauve, exporte et filme!” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 52-55.
  • Deriabin, Aleksandr. “Judgment Day: Recreation and Stylization (On Ethics in Documentary Filmmaking and Other Matters).” Trans. Vladimir Padunov. KinoKultura 13 (July 2006).
  • Dolmatovskaia, G.E. and G.I. Kopalina. Posle vzryva: dokumental’noe kino 90-kh. Moskva: Andreevskii Flag, 1995.
  • Dondurei, Daniil, ed. Otechestvenoe kino: strategiia vyzhivaniia. Moskva: NII Kinoiskusstva/Kinovedcheskie zapiski, 1991.
  • Drozdova, Marina. “Midseasonal Anarchists.” Russian critics on the cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • –. “Sublimations from Socialism: New Images of Women in Soviet Cinematography in the Era of Perestroika.” 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.
  • Dzhulai, Liudmila. Dokumental’nyi illiuzion: Otechestvennyi kinodokumental’izm–opyty sotsial’nogo tvorchestva. Moskva: Materik, 2001.
  • Eagle, Herbert. “Soviet Cinema Today: On the Semantic Potential of a Discredited Canon.” Michigan Quarterly Review 28.4 (Fall 1989): 743-60.
  • Faraday, George. Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Soviet Film Industry. University Park, PA: The Pennsylvania State UP, 2000.
  • Feoktistov, Aleksei. “Film as a Means of Betterment of Reality.” Re-Entering the Sign: Articulating New Russian Culture. Ed. Ellen E. Berry and Aness Miller-Pogacar. Ann Arbor: U of Michigan P, 1995.
  • Galichenko, Nicholas. Glasnost: Soviet Cinema Responds. Ed. Robert Allington. Austin: U of Texas P, 1991.
  • Goulding, Daniel J., ed. Post New Wave Cinema in the Soviet Union and Eastern Europe. Bloomington: Indiana University Press, 1989.
  • Graffy, Julian. “Unshelving Stalin: After the Period of Stagnation.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • Graham, Seth. “Chernukha and Russian Film.” Studies in Slavic Culture 1 (2000): 9-27.
  • –. “The New American Other in Post-Soviet Russian Cinema.” In Russia and its Other(s) on Film: Screening Intercultural Dialogue . Ed. Stephen Hutchings. NY: Palgrave Macmillan, 2008. 95-110.
  • Horton, Andrew. “‘Nothing Worth Living For’: Soviet Youth and the Documentary Movement.” .” Contemporary Soviet Cinema. Ed. Vance Kepley, Jr. WideAngle 12.4 (October 1990): 38-47.
  • — and Michael Brashinsky. The Zero Hour: Glasnost and Soviet Cinema in Transition. Princeton: Princeton UP, 1992.
  • Iampolski, Michel. “Cinéma et histoire: Rencontre au Cabinet Eisenstein: Myhtologies.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 49-51.
  • Johnson, Vida. “Russia After the Thaw.” The Oxford History of World Cinema. Ed. Geoffrey Nowell-Smith. NY: Oxford UP, 1996.
  • Karakhan, Lev. “Jobless Prophets.” Russian Critics on the Cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Karriker, Alexandra. Turmoil on the Screen: Shifting Perspectives in Soviet and Post-Communist Cinema. Morgantown: Department of Foreign Languages, West Virginia U, 1993.
  • Kepley, Vance Jr., ed. Contemporary Soviet Cinema. WideAngle 12.4 (October 1990).
  • Kino-festival’ “Glasnost'”. Informatsionnye materialy o festivale sovetskogo dokumental’nogo kine “Glasnost'” proshedshem v SShA. Moskva: Amerikano-Sovetskaia Kinoinitsiativa, 1990.
  • Kudriavtsev, Sergei, Svoe kino. Moskva: Dubl’-D, 1998.
  • Larsen, Susan. “In Search of an Audience: The New Russian Cinema of Reconciliation.” Consuming Russia: Popular Culture, Sex, and Society since Gorbachev. Ed. Adele Marie barker. Durham: Duke UP, 1999. 192-216.
  • –. “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.
  • Lawton, Anna. Before the Fall: Soviet Cinema in the Gorbachev Years. Original title Kinoglasnost: Soviet Cinema in Our Time. Philadelphia: Xlibris Corp., 2002.
  • —. “The Ghost That Does Not Return: Exorcising Stalin.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • —. Imaging Russia 2000: Film and Facts. Washington, DC: New Academia Publishing, 2004.
  • –. Kinoglasnost: Soviet cinema in our time. NY: Cambridge UP, 1992.
  • –. “Russian Cinema in Troubled Times.” New Cinemas: Journal of Contemporary Film 1.2 (2002): 98-112.
  • –. “Soviet Cinema Four Years Later.” Contemporary Soviet Cinema. Ed. Vance Kepley, Jr. WideAngle 12.4 (October 1990): 8-25.
  • –. “Toward a New Openness in Soviet Cinema, 1967-1987.” Post New Wave Cinema in the Soviet Union and Eastern Europe. Ed. Daniel J. Goulding. Bloomington: Indiana UP, 1989.
  • Liderman, Iuliia. Motivy “proverki” i “ispytaniia” v postsovetskoi kul’ture: Sovetskoe proshloe v rossiiskom kinomatografe 1990-kh godov. S predisloviem Evgeniia Margolita. Stuttgart: ibidem Verlag, 2005.
  • Mal’kova, Liliana. Sovremennost’ kak istoriia: Realizatsiia mifa v dokumental’nom kino. Moskva: Materik, 2002.
  • Martin, Michel. Cinéma soviétique: de Khrouchtev à Gorbatchev. Lausanne: L’Age d’homme, 1993.
  • Menashe, Louis. “Moscow Believes in Tears: The Problems (and Promise?) of Russian Cinema in the Transition Period.” Cineaste 26.3 (summer 2001): 1017.
  • New Leningrad Eccentrics. Preface John Mount. London: South West Arts Film Tour, 1991.
  • Niney, François. “Les Fantomes de Staline: L’Avenir radié.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 15-17.
  • 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.
  • –. “Guiding Stars: The Comet-like Rise of the War Film in Putin’s Russia: Recent World War II Films and Historical Memories.” Studies in Russian and Soviet Cinema 1.2 (2007): 163-189.
  • Plakhov, Andrey. “Russian Cinema Reborn.” Moscow Times, April 1998.
  • –. “The ‘Shelf’ Yesterday and Today.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 58-72.
  • Plakhov, Andrey. “A Test of Intuition: the Sixth Congress of the Film Makers’ Union.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 73-77.
  • Ratchford, Moira. “Post-Glasnost Shock in the Russian Film Industry: The Euphoria is Past. Now Comes the Tough Part.” New Outlook 3.1-2 (Winter/Spring 1992): 102-14.
  • Reizen, Olga. “Black Humor in Soviet Cinema.” Inside Soviet Film Satire: Laughter with a Lash. Ed. Andrew Horton. NY: Cambridge UP, 1993.
  • Rubanova, Irina. “List of Films ‘Liberated’by the Conflict Committee.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 86-92.
  • –. “Losses Along the Way.” Lenfilm and the Liberation of Soviet Cinema. Rotterdam: Rotterdam Film Festival, 1990. 78-85.
  • Shilova, Elena. …i moe kino. Moskva: NII Kinoiskusstva/Kinovedcheskie zapiski, 1993.
  • Smirnov, Andreï. “Cinq ans de Pérestroika: Le tournant.” Ciné-perestroika: le rideau déchiré. Special URSS. Cahiers de cinéma 427 (January 1990). 20-22.
  • Sowjetischer Film heute. Baden, Switz.: Verlag Lars Mühller, 1990.
  • Spring, Derek. “Stalinism–The Historical Debate.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • Stishova, Yelena. Look Who’s Here! A New Trend in the Soviet Cinema. no trans. New Delhi: Panchseel Pub., 1989.
  • –. “Look Who’s Here! A New Trend in the Soviet 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 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.
  • –. “Screening the Past.” Russian Life. Feb, 1997: 4-9.
  • –, ed. Territoriia kino: Postsovetskoe desiatiletie. Moskva: Pomatur, 2001.
  • Sulkin, Oleg. “Identifying the Enemy in Contemporary Russian Film.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 113-126.
  • Timofeevsky, Alexander. “The Last Romantics.” Russian critics on the cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • URSS, 50 ans de cinéma retrouvé. Les Ecrans de la liberté. Paris: La Cinémathèque Française, 1990.
  • URSS: Dal disgelo alla Perestroijka. Quadreno informativo XXV Mostra Internazionale del Nuovo Cinema. Pesaro, 1989.
  • Vitizei, Maria. “From Film School to Film Studio: Women and Cinematography in the Era of Perestroika.” 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.
  • Widdis, Emma. “An Unmappable System: The Collapse of Public Space in Late Soviet Film.” Film Criticism 21.2 (Winter 1996-97): 8-24.
  • Yampolsky, Mikhail. “Cinema Without Cinema.” Russian critics on the cinema of Glasnost. Ed. Michael Brashinsky and Andrew Horton. NY: Cambridge UP, 1994.
  • Zhabskii, M.I., ed. Ispytanie konkurentsiei: Otechestvennoe kino i novoe pokolenie zritelei. Moskva: VNII Kinoiskusstva, 1997.