RUSSIAN DEPARTMENT

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Publications

Authored / Edited Books

bookcover taganka theatre bookcover mikhalkov bookcover burnt by the sun bookcover pop culture russia bookcover history of russian cinema performing violence

  • Yury Lyubimov at the Taganka Theatre 1964-1994. Amsterdam: Harwood Academic Publishers/OPA, 1997.
  • (editor) Russia on Reels: The Russian Idea in Post-Soviet Cinema. London: I.B. Tauris, 1999.
  • Burnt by the Sun (Kinofile Film Companion 3). London: I.B. Tauris, 2000.
  • Nikita Mikhalkov (KinoFiles: The Filmmaker's Companion 1). London: I.B. Tauris, 2005.
  • Pop Culture Russia!. Santa Barbara, CA: ABC Clio, 2005.
  • (editor) 24 Frames: The Cinema of Russia and the Former Soviet Union, Wallflower, 2007
  • (co-editor) The Post-Soviet Russian Media: Conflicting Signals, with S. Hutchings, N. Rulyova. Routledge, 2009.
  • (co-editor and translator): Alexander Shiryaev: Master of Movement, edited with Victor Bocharov and David Robinson. Le Giornate del Cinema Muto, 2009
  • (co-editor) Globalisation, Freedom and the Media after Communism, with S. Hutchings, N. Rulyova. Routledge, 2009. Originally published as special issue of Europe Asia Studies 59.8 (2007)
  • A History of Russian Cinema. Oxford and NY: Berg, 2009.
  • (with Mark Lipovetsky) Performing Violence. 2009
  • (editor, with Nancy Condee), The Cinema of Alexander Sokurov, London: I.B. Tauris, 2011
  • (editor) Directory of World Cinema: Russia. Bristol and Chicago: intellect, 2011.

bookcover russia on reels 24 frames bookcover The Post-Soviet Media

Contributions to Books

  • "La politique contre l'art � la Taganka", in: Liubimov. La Taganka. (ed. B. Picon-Vallin), Paris: CNRS Editions Les Voies de la cr�ation th��trale (volume 20), 1997, pp. 63-95.
  • "Le vivant: th�me paysan et spectacle-mythe", in: Liubimov. La Taganka. (ed. B. Picon-Vallin), Paris: CNRS Editions Les Voies de la cr�ation th��trale (volume 20), 1997, pp. 265-291.
  • "Post-Revolutionary Russian Theatre", introductory essay in Reference Guide to Russian Literature, ed. Neil Cornwell and Nicole Christian, London: Fitzroy-Dearborn, 1998, pp. 45-49. Republished as "Post-Revolutionary Theatre" in The Routledge Companion to Russian Literature, ed. Neil Cornwell, London and New York: Routledge, 2001, pp. 209-222.
  • "Performing Culture: Theatre", in Russian Cultural Studies: An Introduction, ed. D. Shepherd and C. Kelly, Oxford and New York: Oxford University Press, 1998, pp. 91-108.
  • "Introduction" in Russia on Reels: The Russian Idea in Post-Soviet Cinema (ed. B. Beumers). London: I.B. Tauris, 1999. pp. 1-11.
  • "To Moscow! To Moscow? The Russian Hero and the Loss of the Centre" in Russia on Reels: The Russian Idea in Post-Soviet Cinema (ed. B. Beumers). London: I.B. Tauris, 1999, pp. 76-87.
  • "The 'thaw' and after: 1953-1986", in A History of Russian Theatre, (ed. by Robert Leach and Viktor Borovsky), Cambridge: Cambridge University Press, 1999. pp. 358-381.
  • "Eisenstein: The Battleship Potemkin", in European Cinema, (ed. by Sarah Street and Jill Forbes), London: Palgrave, 2000. pp. 53-64.
  • "Mikhalkov: The Barber of Siberia", in European Cinema, (ed. by Sarah Street and Jill Forbes), London: Palgrave, 2000. pp. 195-206.
  • "Father Frost on 31 December: Christmas and New Year in Soviet and Russian Cinema", in Christmas in the Movies, (ed. by Mark Connelly), I.B. Tauris, London, 2000. pp. 185-209.
  • "The 'blue' stage: homosexuality in Russian theatre and drama of the 1990s", in Gender and Sexuality in Russian Civilisation, (ed. Peter Barta), London: Harwood Academic Publishers, 2001. pp. 295-309.
  • "Nina Sadur", in Dictionary of Literary Biographies, Russian Writers since 1980, vol. 285, (ed. M. Balina and M. Leiderman), 2003, pp. 268-276.
  • "The Mikhalkov Brothers' View of Russia", Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the Word, (ed. Stephen Hutchings and Anat Vernitski), London: RoutledgeCurzon, 2005. pp. 135-52.
  • ‘Comforting Creatures in Children’s Cartoons’, in Reading Russian and Soviet Children’s Culture, (ed. Marina Balina, Larissa Rudova), London ad New York: Routledge, 2008, pp. 153-171.
  • ‘Masiania’ in Veselye chelovechki (Funny Figures), ed. I. Kukulin, M. Lipovetskii, M. Maiofis, Moscow: NLO, 2008, pp. 507-524.
  • ‘The Serialization of Culture or the Culture of Serialization’, in The Post-Soviet Russian Media: Conflicting Signals, ed. S. Hutchings, N. Rulyova, B. Beumers. Routledge, 2009, pp. 159-177.
  • ‘Killers and Gangsters: The Heroes of Russian Blockbusters of the Putin Era’, in Media, Culture and Society in Putin’s Russia, ed. Stephen White, Palgrave, 2008, pp. 204-25.
  • ‘Through the other lens? Russians on the global screen’, Russia and its other(s) on film: Screening intercultural dialogue, ed. Stephen Hutchings, Palgrave, 2008, pp. 166-83.
  • ‘The Peculiarities of Russian National Cinema in the Rogozhkin Period’, in Uncensored? Reinventing Humor and Satire in Post-Soviet Russia, ed. by S. Graham and O. Mesropova, Slavica 2008, pp. 117-32.
  • ‘Travma – performans – identichnost'. Intimnyi teatr Evgeniia Grishkovtsa.’, co-authored with Mark Lipovetskii, in Nataliia Borisova, Konstantin Bogdanov, Iurii Murashov (eds), SSSR –territoriia liubvi, Moscow: Novoe izdatel’stvo, 2008, pp. 234-267
  • ‘The Peculiarities of Russian National Cinema in the Rogozhkin Period’, in Uncensored? Reinventing Humor and Satire in Post-Soviet Russia, ed. by S. Graham and O. Mesropova, Slavica 2008, pp. 117-32.
  • ‘The Serialization of Culture or the Culture of Serialization’, in The Post-Soviet Russian Media: Conflicting Signals, ed. S. Hutchings, N. Rulyova, B. Beumers. Routledge, 2009, pp. 159-177.
  • ‘Transforming Animation History’, in Alexander Shiryaev: Master of Movement, edited by Beumers, Victor Bocharov and David Robinson. Le Giornate del Cinema Muto, 2009, pp. 37-52.
  • ‘Die Blume im Staub. Das Zeit-Bild in Rustam Chamdamovs Anna Karamazoff’ [The Flower in the Dust: The Time-Image in Rustam Khamdamov’s Anna Karamazoff], in Das Zeit-Bild im osteuropäischen Film nach 1945, ed. Jurij Murašov and Natascha Drubek-Meyer, Köln, Weimar, Wien: Böhlau Verlag, 2010, pp. 225-243.
  • ‘Stage(d) Terror’, in Just Assassins: The Culture of Terrorism in Russia, ed. by Anthony Anemone, Evanston IL: Northwestern UP, 2010, pp. 277-296. ISBN 978-0-8101-2692-3.
  • ‘Nostalgic Journeys in Post-Soviet Cinema: Towards a Lost Home?’, in European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe, ed. by D. Berghahn and C. Sternberg, Palgrave Macmillan, 2010, pp. 96-113. ISBN 978-0-230-27898-1
  • ‘Drama and Theatre’, in Cambridge Companion to Twentieth-Century Russian Literature, ed. by M. Balina and E. Dobrenko, Cambridge University Press, 2011, pp. 215-234.
  • ‘And the Ark Sails on…’, in Beumers and Condee (eds), The Cinema of Alexander Sokurov, London: I.B. Tauris, 2011, pp. 176-187.
  • ‘Rossiiskaia mul’tiplikatsiia 2009g. Vzliad iz-za rubezha’ [Russian animation of 2009: a view from the side], in Irina Shilova, Ol’ga Ziborova (eds), Khroniki kinoprotsessa 2009, Moscow: Kanon+, ROOI Reabilitatsiia, 2011, pp. 88-105.
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Encyclopedia Entries

  • Entries in Reference Guide to Russian Literature, ed. Neil Cornwell and Nicole Christian, London: Fitzroy-Dearborn, 1998.
  • Entries for Anna Karamazoff, Barabaniada, Pokaianie for the Entsiklopediia kino, Moscow: Cyril&Methodius, 1998 (CD ROM).
  • Entries for the International Dictionary of Films and Filmmakers, eds. S. and T. Pendergast, London and Detroit: Gale Research, St. James Press, 2000.
  • Entries in BFI Companion to Eastern European and Russian Cinema, ed. Richard Taylor, Nancy Wood, Julian Graffy and Dina Iordanova, London, BFI, 2000.
  • Entries in Oxford Encyclopedia of Theatre and Performance, ed. Dennis Kennedy, Oxford: Oxford University Press, 2003.
  • Entries on ‘Yuri Lyubimov’, ‘Eimuntas Nekrosius', ‘Anatoli Vasiliev’ in Fifty Key Theatre Directors, ed. Shomit Mitter and Maria Shevtsova, Routledge, 2005.
  • Entries for the Routledge Encyclopaedia of Contemporary Russian Culture, 2007.

Academic Journal Papers

  • "Russian History in Film: from perestroika into the 1990s. History and the Memory of the Past in Abuladze's Repentance and Mikhalkov's Burnt by the Sun" in: Memory, History and Critique. European Identity at the Millennium. Proceedings of the 6th International ISSEI Conference at the University for Humanist Studies, Utrecht, The Netherlands, August 1996, eds. Frank Brinkhuis & Sascha Talmor, Utrecht: ISSEI - University for Humanist Studies, 1998. CD ROM.
  • "Commercial Enterprise on the Stage: Changes in Russian Theatre Management between 1986 and 1996", Europe-Asia Studies vol. 48, no. 8 (1996), pp. 1403-1416.
  • "Cinemarket, or the Russian Film Industry in 'Mission Possible'", Europe-Asia Studies vol. 51, no. 5 (1999), pp. 871-896.
  • "Myth-making and myth-taking: Lost Ideals and the War in Contemporary Russian Cinema", Canadian Slavonic Papers vol. 42, no. 1-2 (2000), pp. 171-189.
  • "Spinning the text: the play with infinity in contemporary Russian theatre", Modern Language Review, vol. 97, no. 1 (2002), pp.135-148.
  • "Soviet and Russian blockbusters: A question of genre?", Slavic Review vol. 62, no. 3 (Fall 2003), pp. 441-454. (Guest Editor)
  • "Playing with Gogol: Gogol's texts on the post-Soviet stage", in Essays in Poetics, vol. 28, no. 8 (autumn 2003), pp. 202-220.
  • "Pop Post-Sots: Mass Musicals in Russia", Slavic and East European Journal vol. 48, no. 3 (Fall 2004): pp. 378-395.
  • ‘The Chopping of The Cherry Orchard: Stanislavskii or Chekhov?’, in Essays in Poetics, special issue 1, vol. 30 (autumn 2005), pp. 21-44.
  • Guest Editor, with Natalya Rulyova and Stephen Hutchings, Symposium on the Post Soviet Media Europe-Asia Studies 59.8 (2007).
  • ‘Reality Performance: Documentary Trends in Post-Soviet Russian Theatre’, co-authored with Mark Lipovetsky, Contemporary Theatre Review 18.3 (2008): 293-306.
  • (with Mark Lipovetsky) ‘The Performance of Life: Documentary Theater and Film’, Russian Review 69.4 (2010), pp. 615-637.
  • ‘Aleksandr Shiryaev: popravka k istorii animatsii’ [Aleksandr Shiryaev: corrections to the history of animation], Kinovedcheskie zapiski 94-5 (2010): 340-361.
  • (with Mark Lipovetsky), ‘”Bog–eto krov’”: teatr i kinematograf Ivana Vyrypaeva’ [God is Blood: theatre and films of Ivan Vyrypaev] , Kinovedcheskie zapiski 96 (2011): 210-224.

Journal Papers

  • "Die Studiobuehnen der UdSSR zwischen Kunst und Aufklaerung", bit by bit berlin 0 (1989), pp. 49-50.
  • "Anatoli Wasiljew. Zwischen �sthetik und Askese", du [Zurich] 2 (1992), pp. 32-37.
  • "Erosion through Time: The Rest is not Silence", (Eimuntas Nekrosius's production of Hamlet), Theatre Forum 14, Winter/Spring 1999, pp. 68-74..
  • "Theatre as simulation, or the virtual Overcoat" [Teatr kak simuliatsiia, ili virtual'naia shinel'], (on RussianImpostureMasterclass), Petersburg Theatre Journal [Peterburgskii Teatral'nyi Zhurnal] 21 (2000), pp. 40-43.
  • "Mirrored Parallels" [Zerkal'nye parallely] (on Vasiliev's Mozart and Salieri. Requiem), Petersburg Theatre Journal [Peterburgskii Teatral'nyi Zhurnal] 22 (2000), pp. 22-26.
  • "The Floodgates of the Game" [Shliuzy igry], (on Nekrosius's Othello) Petersburg Theatre Journal [Peterburgskii Teatral'nyi Zhurnal] 26 (2001), pp. 79-81.
  • "Journeys Underground: the metro on the screen" [Puteshestvie pod zemliu: metro na ekrane], Neprikosnovennyi zapas (Moscow), 3 [23] (2002).
  • "Two Theatres, or Playing at People" [Dva teatre, ili Igra v liudei] (on Vasiliev's Amphitryon at the Com�die Fran�aise), Petersburg Theatre Journal [Peterburgskii Teatral'nyi Zhurnal] 29 (2002), pp. 84-87.
  • "'And the Ship sails on': Sokurov's Ghostly Ark of Russia's Past, Rossica, 9 (Winter 2003), pp. 56-59.
  • "Tarkovsky's Return or Zvyagintsev's Vozvrashchenie", Rossica, 14 (Spring 2004), pp. 60-63.
  • ‘Roads to Koktebel’, ‘The Sun’, ‘Four’ and ‘Night Watch’, Rossica 15 (Autumn 2005), pp.117-127.

Forthcoming:

  • co-edited book on Central Asian Cinemas, with a chapter on ‘Growing Up in Central Asian Cinema’, IB Tauris, 2012.
  • [in French] ‘Iurii Arabov and spirituality’ (provisional title), for Le cinéma russe, de Gorbatchev à Medvedev, ed. Marion Poirson-Dechonne

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