Bibliography 4.3

University of Pittsburgh
Russian and Soviet Cinema: Bibliography

4. Russo-Soviet Cinema

4.3. Russo-Soviet Cinema: 1917 Through the 1920s
  • Aksenov, V. B. “1917 god: Sotsial’nye realii i kinosiuzhety.” Otechestvennaia istoriia 6 (December 2003): 8-21.
  • Betz, Kate. “As the Tycoons Die: Class-struggle and Censorship in the Russian Cinema, 1917-1921.” Art, Society, Revolution: Russia, 1917-1921.” Ed. Nils Ake Nilsson. Stockholm Studies in Russian Literature 11. Stockholm: Almqvist and Wiksell Intnl, 1979. 198-236.
  • Bochow, Jörg. Vom Gottmenschentum zum Neuen Menschen: Subjekt und Religiosität im russischen Film der zwanziger Jahre. Schriftenreihe der Cinémathèque 3. Trier: WVT Wissenschaftlicher Verlag Trier, 1997.
  • Bordwell, David. “The Idea of Montage in Soviet Art and Film.” Cinema Journal 11.2 (Spring 1972): 9-17.
  • Brooks, Jeffrey. “Russian Cinema and Public Discourse, 1900-1930.” Historical Journal of Film, Radio and Television 11.2 (1991): 141-148.
  • Bulgakova, Oksana, ed. Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki: Das Buch zur Filmreihe “Moskau–Berlin.” Berlin: Freunde der Deutschen Kinemathek, 1995.
  • Carter, Huntley. The New Theater and Cinema of Soviet Russia. London: Chapman & Dodd, 1924.
  • Cavendish, Philip. Soviet Mainstream Cinematography: The Silent Era. London: UCL Arts and Humanities Publications, 2007.
  • Deriabin, Aleksandr, ed. Letopis’ rossiiskogo kino: 1863-1929. Moskva: Materik, 2004.
  • Gak, A.M. “Kinoorganizatsiia Petrograda v 1918-1925gg.” Iz istorii kino 4 (1961): 56-83.
  • Gillespie, David. Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower Pub., 2000.
  • Goriachev, Iu. Istoriia stroitel’stva sovetskoi kinematografii (1917-1925). Moskva: VGIK, 1877.
  • Graffy, Julian. “Urban Legends: Ten Cities that Shook Cinema.” Sight & Sound June 2000: 26-29.
  • Gurevich, Stella. Leningradskoe kinovedenie: Zubovskii osobniak, 1925-1936 (Istoriko-kriticheskii ocherk). Sankt Peterburg: Rossiiskii Institut Istorii Iskusstv, 1998.
  • Hoberman, J. “A Face to the Shtetl: Soviet Yiddish Cinema, 1924-36.” Inside the Film Factory: New Approaches to Russian and Soviet Cinema. Ed. Richard Taylor and Ian Christie. London: Routledge, 1991.
  • Kenez, Peter. The Birth of the Propaganda State: Soviet Methods of Mass Mobilization, 1917-1929. NY: Cambridge UP, 1985.
  • –. Cinema and Soviet Society, 1917-1953. NY: Cambridge UP, 1992.
  • Kepley, Vance Jr. “Building a National Cinema: Soviet Film Education, 1918-1934.” WideAngle 9.3 (1987): 4-20.
  • –. “The First ‘Perestroika’: Soviet Cinema under the First Five-Year Plan.” Cinema Journal 35.4 (Summer 1996): 31-53.
  • –. “Foreign Films on Soviet Screens, 1922-1931.” Quarterly Review of Film Studies 4.4 (1979): 429-442.
  • –. “The Origins of Soviet Cinema: A Study in Industry Development.” Quarterly Review of Film Studies (Winter 1985): 22-38.
  • –. “The Workers’ International Relief and the Cinema of the Left, 1921-1935.” Cinema Journal 23.1 (Fall 1983): 7-23.
  • — and Betty Kepley. “Foreign Films on Soviet Screens, 1922-1931.” Quarterly Review of Film Studies 4.4 (Fall 1979): 429-42.
  • 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.
  • Khrenov, Andrei. “Power and Technology as the Political-Aesthetic Project: Towards the Similarity of the Russian Avant-Garde of the Twenties and Stalinist Cinema.” The Harriman Review 12.4 (November 2000): 20-24.
  • Lawton, Anna. “Cinema and the Russian Avant-Garde: Aesthetics and Politics.” Occasional Paper #213. Washington, DC: Kennan Institute for Advanced Russian Studies, 1985.
  • Listov, Viktor. “Early Soviet Cinema: the spontaneous and the planned, 1917-1924.” Historical Journal of Film, Radio and Television 11.2 (1991): 121-127.
  • –. Rossiia. Revoliutsiia. Kinematograf: K 100-letiiu mirovogo kino. Moskva: Materik, 1995.
  • — and Elena Khokhlova, compl. Istoriia otechestvennogo kino: dokumenty, memuary, pis’ma. vyp. 1. Moskva: Materik, 1996.
  • Mal’kova, Liliana. Sovremennost’ kak istoriia: Realizatsiia mifa v dokumental’nom kino. Moskva: Materik, 2002.
  • Malevich, Kazimir. The White Rectangle: Writings on Film. Ed. Oksana Bulgakowa. Trans. Oksana Bulgakowa, et al. Berlin and San Francisco: PotemkinPress, 2002.
  • Marshall, Herbert. Soviet Cinema. London: Russia Today, 1945.
  • Mayne, Judith. Kino and the Woman Question: Feminism and Soviet Silent Cinema. Columbus: Ohio State UP, 1989.
  • Mikhailov, V.P. “Petrogradskii institut ekrannogo iskusstva.” Iz istorii kino 4 (1961): 84-94.
  • Orlov, I. B. “‘Grimasy NEPa’ v istoriko-revoliutsionnom fil’me 1920-kh godov.” Otechestvennaia istoriia (December 2003): 21-30.
  • Rubailo, A.I. Partiinoe rukovodstvo razvitiem kinoiskusstva, 1928-1937 gg. Moscow: MGU, 1976.
  • Russie années vingt. Cahiers de cinema 220-221 (May–June 1970).
  • Selunskaya, Valeriya and Maria Zezina. “Documentary Film–A Soviet Source for Soviet Historians.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • Shimon, A.A. “Iz istorii ukrainskogo sovetskogo kino.” Iz istorii kino 4 (1961): 28-55.
  • Stollery, Martin. Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Exeter: U of Exeter P, 2000.
  • Taylor, Richard. “Agitation, Propaganda and the Cinema: The Search for New Solutions, 1917-1921.” Art, Society, Revolution: Russia, 1917-1921. Ed. Nils Ake Nilsson. Stockholm Studies in Russian Literature 11. Stockholm: Almqvist & Wiksell Intnl, 1979. 237-263.
  • –. “The Birth of the Soviet Cinema.” Bolshevik Culture: Experiment and Order in the Russian Revolution. Ed. Abbott Gleason, Peter Kenez, and Richard Stites. Bloomington: Indiana UP, 1985.
  • –. Film Propaganda: Soviet Russia and Nazi Germany. 2nd rev. ed. London: Taurus, 1998.
  • –. “Films Without Film: The Birth Pangs of Soviet Cinema.” Occasional Paper #142. Washington, DC: Kennan Institute for Advanced Russian Studies, 1981.
  • –. The Politics of the Soviet Cinema, 1917-1929. NY: Cambridge UP, 1979.
  • Taylor, Richard and Ian Christie, eds. The Film Factory: Russian and Soviet Cinema in Documents, 1896-1939. Cambridge, MA: Harvard UP, 1988.
  • –, eds. Inside the Film Factory: New Approaches to Russian and Soviet Cinema. London: Routledge, 1991.
  • Thompson, Kristin. “Government Policies and Practical Necessities in the Soviet Cinema of the 1920s.” The Red Screen: Politics, Society, Art in Soviet Cinema. Ed. Anna Lawton. London: Routledge, 1992.
  • Tsivian, Yuri. Early Cinema in Russia and its Cultural Reception. Tr. Alan Bodger. Ed. Richard Taylor. London: Routeldge, 1994.
  • –. Istoricheskaia retseptsiia kino: kinematograf v Rossii, 1896-1930. Riga: Zinatie, 1991.
  • –. “The Wise and Wicked Game: Re-Editing and Soviet Film Culture of the 1920s.” Film History 8.3 (1996): 327-343.
  • –. “The Wise and Wicked Game: Reediting, Foreignness, and Soviet Film Culture of the Twenties.” In Insiders and Outsiders in Russian Cinema. Ed. Stephen M. Norris and Zara M. Torlone. Bloomington: Indiana UP, 2008. 23-47.
  • Tupitsyn, Margarita. Malevich and Film. New Haven: Yale UP, 2002.
  • URSS, 50 ans de cinéma retrouvé. Les Ecrans de la liberté. Paris: La Cinémathèque Française, 1990.
  • Vartanov, A. S. and Neia Zorkaia. Ekrannye iskusstva i literatura. Moskva: Nauka, 1991.
  • Widdis, Emma. Visions of a New Land: Soviet Film from the Revolution to the Second World War. New Haven: Yale UP, 2003.
  • Yampolsky, Mikhail. “Reality at Second Hand.” Trans. Derek Spring. .” Historical Journal of Film, Radio and Television 11.2 (1991): 161-171.
  • Yangirov, Rashit. “Soviet Cinema in the Twenties: national alternatives.” Trans. Richard Taylor. Historical Journal of Film, Radio and Television 11.2 (1991): 129-139.
  • –. “Onwards and Upwards: The Origins of the Lenin Cult in Soviet Cinema.” Stalinism and Soviet Cinema. Ed. Richard Taylor and Derek Spring. London: Routledge, 1993.
  • –. “‘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.
  • Youngblood, Denise J. “‘History’ on Film: the Historical Melodrama in Early Soviet Cinema.” Historical Journal of Film, Radio and Television 11.2 (1991): 173-184.
  • –. Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. NY: Cambridge UP, 1992.
  • –. Soviet Cinema in the Silent Era, 1918-1935. UMI Research Press, 1985 (reissued: Austin: U of Texas P, 1990).
  • –. “‘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.
  • Zaitseva, L.A. Kinoiazyk: osvoenie rechevoi prirody. Moskva: VGIK, 2001.
  • Ziwjan, Juri. “Caligari in Rußland. Der deutsche Expressionismus und die sowjetische Filmkultur.” Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki: Das Buch zur Filmreihe “Moskau–Berlin”. Ed. Oksana Bulgakowa. Berlin: Freunde der Deutschen Kinematek, 1995. 169-176.
  • Zorkaia, Neia, et al., eds. Ekrannye iskusstva i literatura: nemoe kino. Moskva: Nauka, 1991.

4.3.1. Formalism
  • Albera, François, ed. Les Formalistes russe et le cinéma: Poétique du film. Paris: Nathan université, 1995; Lausanne: L’Age d’Homme, 2008.
  • Beilenhoff, Wolfgang. “Filmtheorie und -praxis der russischen Formalisten.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • –, ed. Poetik des Films. Frankfurt: Wilhelm Fink Verlag, 1974.
  • Eagle, Herbert, ed. Russian Formalist Film Theory. Ann Arbor: Michigan Slavic Publications, 1981.
  • Eagle, Herbert. “Russian Formalist Film Theory: An Introduction.” Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • Eikhenbaum, Boris, ed. Poetika kino. Moskva–Leningrad: Kinopechat’, 1927.
  • –. “Problems of Cine-Stylistics.” Trans. Richard Sherwood. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • –. “Problemy kino-stilistiki.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • Ejchenbaum, Bris. “Probleme der Filmstilistik.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • Ejxenbaum, Boris. “Problems of Cinema Stylistics.” Trans. Herbert Eagle. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • Gerould, Daniel. “Russian Formalist Theories of Melodrama.” Imitations of Life: A Reader on Film & Television Melodrama. Ed. Marcia Landy. Detroit: Wayne State UP, 1991.
  • Hughes, Angela Ungoed and Howard Riley. “The Multimodal Matrix–A Laboratory of Devices: Film and the Formalist Legacy.” Studies in Russian and Soviet Cinema 1.2 (2007): 191-209.
  • Jakobson, Roman. “Is the Cinema in Decline?” Trans. E. Sokol. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • Kazanskii, Boris. “Priroda kino.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • Kazanskij, Boris. “Die Natur des Films.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • –. “The Nature of Cinema.” Trans. Herbert Eagle. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • Kazansky, Boris. “The Nature of Cinema.” Trans. Joe Andrew. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • Mikhailov, Evgeny and Andrei Moskvin. “The Cameraman’s Part in Making a Film.” Trans. Ann Shukman. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • –. “Rol’ kino-operatora v sozzdanii fil’ma.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • Mixajlov, Evgenij and Andrej Moskvin. “The Role of the Cinematographer in the Creation of a Film.” Trans. Herbert Eagle. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • Mukarovský, Jan. “Die Zeit im Film.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • –. “Zur Ästhetik des Films.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • Narboni, Jean. “Introduction à Poetika kino“. Russie années vingt. Cahiers de cinema 220-221 (May–June 1970). 52-57.
  • Piotrovskii, Adrian. “K teorii kino-zhanrov.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • Piotrovskij, Adrian. “Towards a Theory of Cine-Genres.” Trans. Anna Lawton. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.
  • –. “Zur Theorie der Gilmgattungen.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • Piotrovsky, Adrian. “Towards a Theory of Film Genres.” Trans. Richard Taylor. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • Shklovskii, Viktor. “Poeziia i proza v kinematografii.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • –. Za 60 let: raboty kino. Moskva: Iskusstvo, 1985.
  • Shklovskij, Viktor. “Poesie und Prosa im Film.” Poetik des Films. Ed. Wolfgang Beilendorf. Frankfurt: Wilhelm Fink Verlag, 1974.
  • Shklovsky, Victor. “Poetry and Prose in the Cinema.” Trans. Richard Taylor. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • Shutko, Kirill. “Predislovie.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • –. Preface. Poetika kino. Ed. Boris Eikhenbaum. Trans. Richard Taylor. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • Taylor, Richard, ed. The Poetics of Cinema. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • Tynianov, Yury. “The Fundamentals of Cinema.” Trans. L.M. O’Toole. The Poetics of Cinema. Ed. Richard Taylor. Russian Poetics in Translation 9. Oxford: RPT Pub., 1982.
  • –. “Ob osnovakh kino.” Poetika kino. Ed. Boris Eikhenbaum. Moskva–Leningrad: Kinopechat’, 1927.
  • Tynjanov, Jurij. “On the Foundations of Cinema.” Trans. Zinaida Breschinsky and Herbert Eagle. Russian Formalist Film Theory. Ed. Herbert Eagle. Ann Arbor: Michigan Slavic Publications, 1981.

4.3.2. Formalism: History
  • Ehrlich, Victor. Russian Formalism: History-Doctrine. New Haven: Yale UP, 1981.
  • Hansen-Löve, Aage. Der russische Formalismus. Vienna: Verlag d. Österr. Akad. d. Wiss., 1978.
  • Steiner, Peter. Russian Formalism: A Metapoetics. Ithaca: Cornell UP, 1984.