Frederick H. White
Alpert received her BA in Russian Studies from the College
of William and Mary in 2007. She is currently a third year
graduate student at the University of Pittsburgh. Her research
interests include documentary cinema, GULAG studies and Holocaust
Professor of Russian, Chair of the Department of Foreign Languages
at The New School.
in Slavic Languages and Literatures at Columbia University
(B.A.) and the University of California Berkeley (M.A., Ph.D.),
Tony Anemone taught Russian literature and cinema at Colby
College and the College of William and Mary before taking
up a position at The New School in 2006. His publications
on a broad range of topics from 18th century Russian culture,
to Russian literature of the 19th and 20th centuries, and
contemporary Russian cinema have appeared in books and the
leadings journals of the field, including Russian Review,
Slavic Review, Slavic and East European Journal,
Revue des Etudes Slaves and Wiener Slawistischer
Almanach. He is a member of the editorial boards of Slavic
and East European Journal, Kinokultura, and
Studies in Russian and Soviet Cinema.
is currently a second-year graduate student at the University
of Pittsburgh Slavic Department. She received her BA Degree
in TEFL and American Literature from Saratov State University
in 2001 and PhD in Comparative Literature from the University
of South Carolina in 2008. Her publications include "Metissage
as an Oppositional Practice” 2006 and “Masks of Authenticity:
Failed Quests for the People in Quicksand by Nella
Larsen and The Silver Dove by Andrei Belyi” 2008.
She is currently teaching a course on modern Russian culture.
She has also taught a number of courses in Women’s Studies
and World Literature at the University of South Carolina.
Her current research interests include contemporary Russian
literature, empire and periphery, race, and subaltern studies.
Brevig received her B.A. in Russian from Reed College in 2006,
and her M.A. in Russian Literature from the University of
Pittsburgh in 2010. She is currently a third year graduate
Department of Slavic Languages and Literatures
University of Pittsburgh
Chapman received his B.A. in Russian from University of Rochester
in 2004 and his M.A. in Russian Literature from University
of Pittsburgh in 2007. He is currently in his fifth year of
graduate study at University of Pittsburgh, researching Soviet
queue culture in literature and film.
include The Imperial Trace: Recent Russian Cinema
(Oxford, 2009); Antimonies of Art and Culture: Modernity,
Postmodernity, Contemporaneity, co-edited with Terry
Smith and Okwui Enwezor (Duke, 2008); Endquote: Sots-Art
Literature and Soviet Grand Style, co-edited with Marina
Balina and Evgeny Dobrenko (Northwestern UP, 2000); Soviet
Hieroglyphics: Visual Culture in Late 20c. Russia, ed.
(BFI/Indiana UP, 1995). She is Executive Director of the CD-rom
on Thaw cinema, Kino ottepeli (Moscow: Artima Studio,
with Vladimir Padunov and separately, has appeared in The
Nation, The Washington Post, October,
New Left Review, Sight and Sound, and PMLA,
as well as major Russian cultural journals (Ab imperio,
Znamia, Voprosy literatury, Novoe literaturnoe obozrenie,
Iskusstvo kino). She has worked as a consultant for the
Edinburgh Film Festival, the Library of Congress, and Public
Broadcasting for several Frontline documentaries.
Condee-Padunov is an undergraduate senior at the University
of Pittsburgh, focusing on Political Science and Philosophy
with a minor in History and a certificate in Global Studies.
Crane received a B.A. in Theatre Studies from Georgia State
University in 2001 and an M.A. in Theatre and Performance
Studies from the University of Pittsburgh in 2005. He is currently
in his seventh year of graduate study at the University of
Gray graduated with a B.A. in Russian Studies from Williams
College in 2007. He is a first year graduate student in the
Department of Slavic Languages and Literatures at the University
of Pittsburgh. He is interested in contemporary post-Soviet
and Eastern European culture.
First, who received his Ph.D. in History at the University
of Michigan in 2008, is presently a post-doctoral fellow at
the Havighurst Center for Russian and Post-Soviet Studies
at Miami University of Ohio. In the Fall, he will join the
History faculty at the University of Mississippi as the Croft
Assistant Professor of History and International Studies.
Recently, Joshua has published articles on Ukrainian poetic
cinema, Soviet film sociology, and the politics of melodrama
during the Brezhnev era. He is currently working on a book
entitled, Scenes of Belonging: Cinema and the Multinational
Imagination during the Soviet 1960s.
Anatol'evich Izvolov was born in Kostroma in 1962. In 1985
he graduated from the scriptwriting-film scholar department
of the State Institute for Filmmaking (VGIK). He was the academic
editor of Veniamin Vishnevskii’s catalog of pre-Revolutionay
documentary films (1996). Between 1991 and 1996 he worked
at the Eisenstein Museum as the head of the sector for non-feature
films and deputy director of research. He was the vice provost
of research and scholarship at VGIK (1996-7). Since 1997 he
has been at the Institute for Cinema Studies as the director
of the sector of domestic cinema (renamed the Historical-Theoretical
sector). Starting in the 1990s he has taught at VGIK and the
Advanced Courses for Scriptwriters and Directors.
Institute for Cinema Studies he has worked on computer reconstructions
of “lost” films; these include Leninist KinoTruth
(1996), Hold that Thief! (1998), Tit, or the
Tale of a Big Spoon (2000), Engineer Prait’s Project
(2001), Alcoholism and its Consequences (2001);
Mishki Against Iudenich, On the Red Front, The Marriage,
and Dokhunda (all 2006); The Country-House Husband
and Lawlessness (both 2010). Together with Natasha Drubek
he has created HYPERKINO, a method of providing commentary
about films using digital technology. He is the author of
The Phenomenon of Cinema: History and Theory (2001).
He was named Best Film Scholar of the Year in 2001 by Gosfilmofond.
Johnson received her B.A. in Russian History and Literature
from Radcliffe College and her M.A. and PhD in Slavic Languages
and Literatures from Harvard University. For many years she
has been Professor of Russian language, culture, and film
as well as the Director of the Russian Program at Tufts University
in Boston. She has been a long-time consulting editor or co-editor
for film for the Russian Review.
She is the author of articles and reviews on literature and
film and co-author with Graham Petrie of The Films of
Andrei Tarkovsky: A Visual Fugue (1994). Her current
areas of research are contemporary Russian and Central Asian
cinemas as well as the cinemas of the former Yugoslavia. Her
most recent contributions are a special edited issue on Serbian
Cinema in kinokultura.com, and a co-edited dual language collection
of film articles by young Serbian critics titled Introducing
Youth: Self-Reflections on Serbian Cinema (Uvodjenje
mladosti: Sami sebe naslikati.), published by Film Center,
is a PhD candidate at the Department of Slavic Languages and
Literatures, University of Pittsburgh. She received her Specialist
Degree in Cultural Studies from Belarusian State University
in Minsk in 2001. In 2005 she graduated from Brock University,
Canada, with an MA in Popular Culture, and in 2007 obtained
an MA degree in Russian Literature from the University of
Olga has taught a number of film and gender courses at the
Department of Communication, Popular Culture and Film at Brock
University, and currently teaches language, literature, and
culture courses at the University of Pittsburgh's Slavic Department.
She is working on her PhD dissertation which focuses on the
Aesopian language in Soviet youth film drama of the 1970s
through early 1980s.
Olga’s current research interests include post-Soviet popular
culture and popular cinema, Stagnation cinema and literature,
Russian youth culture and cinema, Belarusian cinema, war cinema,
cultural representations of trauma, Chernobyl culture, theories
of spectatorship, and much more.
Kuchta is a first year import to the Slavic graduate department
at the University of Pittsburgh. She received her B.A. in
Russian Studies and International Development from McGill
University in 2009. Her current research interests include
post-Soviet popular culture, transnational cinema and television,
and epistemologies of gender and sexuality.
Lowenstein works on issues relating to the cinema as a mode
of historical, cultural, and aesthetic confrontation. His
teaching and research link these issues to the relays between
genre films and art films, the construction of national cinemas,
and the politics of spectatorship, with particular attention
to American, British, Canadian, French, and Japanese cases.
the author of Shocking Representation: Historical Trauma,
National Cinema, and the Modern Horror Film (Columbia
University Press, 2005). His essays have appeared in Cinema
Journal, Critical Quarterly, and Post Script,
as well as the anthologies Hitchcock: Past and Future
(ed. Richard Allen and Sam Ishii-Gonzáles, 2004), Trauma
and Cinema: Cross-Cultural Explorations (ed. E. Ann Kaplan
and Ban Wang, 2004) and British Cinema, Past and Present
(ed. Justine Ashby and Andrew Higson, 2000). He is an interviewed
scholar in The American Nightmare (2000), a documentary
investigation of 1960's and 1970's American horror films directed
by Adam Simon and co-produced by Colin MacCabe for The Independent
Film Channel. Among his current projects is a book manuscript
concerning cinematic spectatorship, surrealism, and the age
of new media; this research has been supported through a Howard
Foundation fellowship (2005-2006).
University of Pittsburgh
Department of Slavic Languages and Literatures
McCausland teaches at the University of Pittsburgh, where
he directs the Russian language program. He holds degrees
from the University of Pittsburgh (Ph.D., Russian), Middlebury
College (BA, Political Science; MA Russian) and the University
of Massachusetts at Amherst (MA, German). His publications
include articles on Vladimir Sorokin, Viktor Pelevin, and
Andrei Platonov as well as translations and film reviews.
His current research focuses on post-Soviet Russian identity
in contemporary literature and film, particularly on the question
of how a psychoanalytically informed study of literature and
cinema can illuminate the dynamic relationship between a social
collective and its cultural production.
Morgan is an assistant professor of film studies in the Department
of English at the University of Pittsburgh. He has published
articles on a variety of topics, and is currently completing
a book manuscript on Jean-Luc Godard's films and videos since
the late 1980s.
Professor, Department of Slavic Languages and Literatures
Associate Director, Film Studies Program
Director, Russian Film Symposium
University of Pittsburgh
received his B.A. from Brooklyn College, and his M.A. and
Ph.D. in Comparative Literature at Cornell University. He
has taught at the University of Iowa and Hunter College, as
well as in Germany and Russia.
with Nancy Condee, he directed the Working Group on Contemporary
Russian Culture (1990-93), supported by the American Council
of Learned Societies and the Social Science Research Council.
His work has been published in the US (The Nation,
October, WideAngle), the UK (Framework,
New Left Review, New Formations), and Russia
(Voprosy literatury, Znamia, Iskusstvo
kino, Novaia gazeta). His areas of research
include Russian visual culture, narrative history and theory,
Petrov is an Assistant Professor of Russian at Princeton University,
where he teaches courses in twentieth-century Russian literature
and culture, Russian and East-European cinema, and Polish
language. His research focuses on Stalinist culture in the
historical context of modernity and the intellectual context
of Western and Russian modernism. He has published journal
and encyclopedia articles on socialist realism, Thaw film,
and Russian formalism. During the current academic year, Petre
holds a fellowship at the Humanities Center at the University
of Pittsburgh. He is working on a book project provisionally
entitled The Future Is What Follows: Stalinism and the
Traffic of Essences.
Prokhorov is Associate Professor of Russian and Film Studies
at College of William and Mary. His research interests include
Russian visual culture, genre theory, and film history.
He is the author of Inherited Discourse: Paradigms of
Stalinist Culture in Literature and Cinema of the Thaw
2007) and the editor of Springtime for Soviet Cinema:
Re/viewing the 1960s (Pittsburgh Film Symposium, 2001).
His articles and reviews have been published in Kinokultura,
Russian Review, Slavic Review, Slavic
and East European Journal, Studies in Russian and
Soviet Cinema, and Wiener Slawistische Almanach.
Elise Thorsen holds a B.A. in Russian Studies from the College
of William & Mary (2006) and an M.A. in Russian Literature
from the University of Pittsburgh (2009). This is her third
year of graduate study at the University of Pittsburgh's Department
of Slavic Languages & Literatures, as well as her third
year as a member of the Symposium organizing committee. Her
current research interests include Soviet imaginative geography
H. White is Associate Dean (Research and Graduate Programs)
in the Faculty of Arts at Memorial University (Newfoundland,
Canada). In 2006, he published Memoirs and Madness: Leonid
Andreev through the Prism of the Literary Portrait (MQUP).
This initial research led to an examination of Andreev’s own
first person narratives of illness, investigated within the
cultural context of “degeneration” as it was understood in
the Russian fin de siècle, resulting in the recently completed
book manuscript, Neurasthenia: Constructions of Madness in
the Life and Narratives of Leonid Andreev. He is now beginning
a project on representations of the Russian Silver Age in