JOURNAL ARTICLES | CHAPTERS IN BOOKS
“The New Kino-Pravda: Sergei Loznitsa’s Historical Films,” in Contemporary Russian Documentary: Negotiating the Personal and the Political, eds. Anastasia Kostina and Masha Shpolberg (under contract, Edinburgh University Press).
“Women’s Cinema as Haptic Cinema: Esfir Shub’s Today, Lily Brik’s Glass Eye, and the last films of the Soviet Avant-garde,” Technologies of Mind and Body in the Soviet Union and the Eastern Bloc, eds. Claire Shaw and Anna Toropova (under contract, Bloomsbury Press).
“The Thaw as Carnival: Soviet Musical Comedy after Stalin,” in The Slavic Musical Film, ed. Helena Goscilo (Academic Studies Press, 2022).
“Soviet 1960s Cinema and the Nuclear Catastrophe: Mikhail Romm’s Ordinary Fascism and Nine Days of One Year,” in Critical Memory Studies: New Approaches, ed. Brett Kaplan (BloomsburyPress, 2022).
“The Sound of Socialist Realism: Excess and Ideology in Stalinist Film,” in The Routledge Companion to Global Film Music in the Early Sound Era, ed. Jeremy Barham (Routledge, 2022).
“Between Pornography and Nostalgia: Valery Todorovsky’s The Thaw (Ottepel’),” in Russian TV Series in the Era of Transition: Genres, Technologies, Identities, eds., Alexander Prokhorov, Elena Prokhorova, and Rimgaila Salys (Academic Studies Press, 2021): 114-138.
«Женщина с киноаппаратом: Маргарита Пилихина в советской Новой волне» [“The Woman with a Movie Camera: Margarita Pilikhina and the Making of the Soviet New Wave”] in Нестандарт: Забытые эксперименты в русской культуре, 1934-64гг., eds. Julia Vaingurt and Bill Nichols (Novoe Literaturnoe Obozrenie, 2020): 272-304. In Russian.
“ ‘The Threshold of the Visible World’: Dziga Vertov’s A Sixth Part of the World (1926)” in Arctic Cinemas and the Documentary Ethos, eds. Lilya Kaganovsky, Scott MacKenzie, and Anna Stenport(Indiana UP, 2019): 46-67.
“Introduction: The Documentary Ethos and the Arctic” (co-written with Scott MacKenzie and Anna Stenport) in Arctic Cinemas and the Documentary Ethos, eds. Lilya Kaganovsky, Scott MacKenzie, and Anna Stenport (Indiana UP, 2019): 1-28.
“Film Editing as Women’s Work: Esfir Shub, Elizaveta Svilova, and the Culture of Soviet Montage,” special issue of Apparatus, “Revealing the Invisible: Women and Editing in Central and Eastern European Film,” Karen Pearlman and Adelheid Heftberger, eds. (Summer 2018).
“Vystuplenie i nakazanie: Performing Political Protest in Putin’s Russia,” in Russian Performances, eds. Julie Buckler, Julie Cassiday, and Boris Wolfson (Wisconsin UP, 2018), 148-155.
“The Negative Space in the National Imagination: Russia and the Arctic,” in Arctic Modernities, Environmental Politics, and the Era of the Anthropocene, eds. Lill-Ann Körber, Scott MacKenzie, and Anna Westerstahl Stenport (Palgrave Studies in Environmental History, 2016), 169-182.
“Learning to Speak Soviet: Soviet Cinema and the Coming of Sound,” in A Companion to Russian Cinema, ed. Birgit Beumers (Wiley-Blackwell, 2016), 292-313.
“Thinking Again About Cold War Cinema,” in Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989: Re-Visions, eds. Sanja Bahun and John Haynes (Routledge, 2014), 25-49.
«Как расплавлялась сталь» [How the Steel was Melted], LOGOS: Philosophical and Literary Journal 2 (98) 2014: 89-122. In Russian.
“Stalinist Cinema 1928-1953,” in The Russian Cinema: A Reader (Volume I: 1908 to the Stalin Era), ed. Rigmaila Salys (Boston: Academic Studies Press, 2013), 205-231.
“The Cultural Logic of Late Socialism,” Studies in Russian and Soviet Cinema 3. 2 (2009): 185-199. Reprinted in The Russian Cinema: A Reader (Volume II: The Thaw to the Present), ed. RigmailaSalys (Boston: Academic Studies Press, 2013).
“Russian Rock on Soviet Bones,” in Sound, Speech, Music in Soviet and Post-Soviet Cinema, eds. Lilya Kaganovsky and Masha Salazkina (Indiana University Press, 2013), 252-272.
“Postmemory, Counter-memory: Soviet Cinema of the 1960s,” in The Socialist Sixties: Crossing Borders in the Second World, eds. Anne Gorsuch and Diane Koenker (Indiana University Press, 2013); 235-250.
«Материальность звука: кино касания Эсфири Шуб» [The Materiality of Sound: Esfir Shub’sHaptic Cinema], Novoe Literaturnoe Obozrenie vol. 120 (April 2013): 35-53. In Russian.
“The Homogenous Thinking Subject or Soviet Cinema Learns to Sing,” Studies in Russian and Soviet Cinema 6.3 (March 2013): 281-299.
“Introduction” (co-written with Lauren Goodlad and Robert Rushing) in Mad Men, Mad World: Sex, Politics, Style and the 1960s, eds. Lauren M. E. Goodlad, Lilya Kaganovsky and Robert A. Rushing (Duke UP, 2013), 1-31.
“‘Maidenform’: Masculinity as Masquerade,” in Mad Men, Mad World: Sex, Politics, Style and the 1960s, eds. Lauren M. E. Goodlad, Lilya Kaganovsky and Robert A. Rushing (Duke University Press 2013), 238-256. Excerpted in PopMatters (28 March 2013).
“Il n’y a pas de rapport sexuel,” Slavonica, Volume 18, Number 2 (October 2012): 97-99.
“Ways of Seeing: on Kira Muratova’s Brief Encounters and Larisa Shepit’ko’s Wings,” Russian Review, Vol. 71, No. 3 (July 2012): 482-499.
“Elektrische Sprache: Dsiga Wertow und die Tontechnologie / Electric Speech: Dziga Vertov and the Technologies of Sound,” in Resonanz-Räume: die Stimme und die Medien, ed. Oksana Bulgakowa(Berlin, Bertz & Fischer, 2012), 41-54. In German.
“There is no acoustic relation: Considerations on sound and image in post-Soviet film,” Qui parle: critical humanities and social sciences (vol. 19.1, fall/winter 2010): 65-87.
«Гонка вооружений, трансгендер, и застой: Волк и Заяц в кон/подтексте холодной войны» [The Arms Race, Transgender, and Stagnation: Wolf and Hare in the con/subtext of the Cold War], in Veselye chelovechki: Kul'turnye geroi sovetskogo detstva [Funny Little People: The Cultural Heroes of the Soviet Childhood]. Ed. by Mark Lipovetsky, et al. (Moscow, NLO, 2008), 378-392. In Russian.
“Solaris and the White, White Screen,” in Picturing Russia: Explorations in Visual Culture, eds. Valerie A. Kivelson and Joan Neuberger (Yale UP, 2008), 230-232.
“‘I open my eyes and I see nothing’: Sokurov, Nostalgia, and the Limits of Vision,” Culture et mémoire: quelles représentations? (Les Éditions de l’École Polytechnique, Paris, France, 2008), 221-226.
“The Voice of Technology and the End of Soviet Silent Film: on Grigorii Kozintsev and Leonid Trauberg’s Alone,” Studies in Russian and Soviet Cinema 1. 3 (2007): 265-281.
“Men Wanted: Female Masculinities in Livnev’s Hammer and Sickle,” Slavic and East European Journal 51. 2 (Summer 2007): 229-246.
“Visual Pleasure in Stalinist Cinema: Ivan Pyr’ev’s The Party Card,” in Everyday Life in Early Soviet Russia: Taking the Revolution Inside, ed. Christina Kiaer
and Eric Naiman (Indiana University Press, 2006), 35-60.
“Forging Soviet Masculinity in Nikolai Ekk’s The Road to Life,” in Gender and National Identity in Twentieth-Century Russian Culture, ed. Helena Goscilo and Andrea Lanoux (Northern Illinois Press, 2006), 146-175.
“How the Soviet Man was (Un)Made,” Slavic Review 63. 3 (Fall 2004): 577-596.
Updated September 2022