Publications

Books

The Victory Banner: Cinema, Ritual and Repetition in Russia’s Memory of World War Two. Pittsburgh: University of Pittsburgh Press, 2020.

First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46, Pittsburgh: University of Pittsburgh Press, 2012. [Russian version of chapter one, chapter five]

Dziga Vertov: Defining Documentary Film, London and New York: I.B. Tauris, 2007.

Mikhail Zoshchenko, The Galosh: Selected Short Stories, London: Angel Books, 2000 [selection, translation, introduction and notes]. [US hardback edition, New York: Overlook Press, 2006; paperback 2009].

Mikhail Zoshchenko and the Poetics of Skaz, Nottingham: Astra Press, 2000.

Articles/Chapters

‘Film as a Source in Soviet History,’ in George Gilbert (ed.), Reading Russian Sources. London: Taylor and Francis/Routledge, 2020, 180-95.

‘Paradise (Andrei Konchalovsky),’ in Rimgayla Salys (ed.), The Russian Cinema Reader: Contemporary Russian Cinema (2005-2016). Brighton: MA, Academic Studies Press, 2019.

‘Aid, Appropriation and Amnesia: Documentary Film and The Arctic Convoys of World War Two,’ in Lilya Kaganovsky, Scott McKenzie and Anna Stenport (eds), Arctic Cinema and the Documentary Ethos. Bloomington and Indianapolis: Indiana University Press, 2019, 114-32.

‘Soviet Journalists at Nuremberg: Establishing the Soviet War Narrative,’ in David M. Crowe (ed.), Satlin’s Soviet Justice: ‘Show’ Trials, War Crimes Trials, and Nuremberg. London: Bloomsbury Academic, 2019, 199-215.

‘Kul´t lichnosti v fil´makh Mikhaila Romma,’ [The Cult of Personality in Mikhail Romm’s Films], International Journal of Cultural Research (Mezhdunarodnyi zhurnal isledovanii kul´tury) 2(3) 2018, 83-91.

‘Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens,’ Connexe, Les espaces postcommunistes en question(s), 3 (2018), 113-32.

‘Bewegte und unbewegte Blicke der Toten: Aus der Warchauer Ghetto und Charkiv,’ in Susi K. Frank (ed.), Bildformeln: Visuelle Erinnerungskulturen in Osteuropa, Bielefeld: transcript Verlag, 2018, 213-28.

‘A Holy Relic of War: The Soviet Victory Banner as Artefact,’ in Patrick Finney (ed.), Remembering the Second World War, London and New York: Routledge, 2017, 197-216.

‘Appropriating the Presence of History: Raising the Victory Banner over the Reichstag,’ Screen, 57:3 (Autumn 2016) 362-70.

‘Soiuzdetfil´m Studios, The Birth of Soviet Children’s Film, and the Child Actor’, Willey-Blackwell Companion to Russian Cinema Oxford: Willey-Blackwell, 2016.

’Témoins malgré eux’? Les différentes sortes de photographies et d’images filmiques de la Shoah,’ ln Filmer la guerre 1941–1946: Les soviétiques face à la Shoah, Paris: Mémorial de la Shoah, 2015, 123-27.

‘Otrazhenie Kholokosta v sovetskikh dokumental´nykh fil´makh voennogo vremeni I ikh vlianie na pamiat´ o zhertvakh voiny,’ in Il´ia Al´tman, Igor´ Kotler and Jürgen Zarusky (eds), Kholokost 70 spustia. Materialy Mezhdunarodnogo Foruma i 9–i Mezhdunarodnoi konferentsii ‘Uroki Kholokosta I sovremennaia Rossiia, Moscow: Rossiiskaia biblioteka Kholokosta, 2015, 178-82.

‘Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust,’ in Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989: Re-Visions,Sanja Bahun and John Haynes (eds), London and New York: Routledge, 2014.

‘Challenging the Voice-of-God in Soviet Documentaries of World War II’ in Lilya Kaganovsky and Maria Salazkina (eds) Sound/ Music/ Speech in Soviet and Post-Soviet Cinema, Bloomington: Indiana University Press, 2014.

‘Dziga Vertov, The Man with the Movie Camera,’ in The Russian Cinema: A Reader, ed. Rimgaila Salys, Brighton, MA: Academic Studies Press, 2013.

 ‘“Soul Destroyers” – Soviet Journalism on the Krasnodar and Kharkov trials,’ History, 98:332 (2013).

‘“Too Gruesome to be Fully Taken in”: Konstantin Simonov’s “The Extermination Camp” As Holocaust Literature,’ Russian Review 72:2, 242–259 (2013).

‘The Dead Never Lie’: Soviet Film, the Shoah, and the Nuremberg Tribunal’ trans. as ‘El juicio de los pueblos: los muertos nunca mienten,’ in Archivos de la filmoteca (Valencia, Spain) 2012. Also translated as: ‘”Les Morts ne mentent pas”: le cinéma soviétique, La Shoah et le procès de Nuremberg,’ in Valérie Pozner and Natacha Laurent (eds), Kinojudaica: l’image des Juifs dans le cinéma russe et soviétique des années 1910 aux années 1960, Paris: Nouveau monde, 2012.

 ‘Sokurov’s Documentaries,’ in Birgit Beumers, Nancy Condee (eds) The Cinema of Alexander Sokurov, London and New York: I. B. Tauris, 2011.

 ‘From Atrocity to Action: How Soviet Cinema Initiated the Holocaust Film’ in Justice, Politics, and Memory in Europe after the Second World War: Landscapes After Battle, Vol. 2, ed. David Cesarani and Dieter Steinert, Edgware: Vallentine Mitchell, 2011.

‘Confronting the Holocaust: Mark Donskoi’s The Unvanquished,’ Studies in Russian Soviet Cinema 3:1, (2009), 33-51.

‘Lost in Translation? Did Sound Stop Soviet films Finding Foreign Audiences?’, in Stephen Hutchings (ed.), Screening Intercultural Dialogue: Russia and its Other(s) on Film, London: Routledge-Curzon, 2008, 113-29.

‘“Ne Zolotoi lev dolzhen stat´ nastoiashchim priznaniem Tarkovskogo…” (Vospriiatie fil´ma “Ivanovo detstvo” na Venetsianskom kinofestivale,’ [The Reception of Tarkovsky’sIvan’s Childhood at the Venice Film Festival] in  Fenomen Andreia Tarkovskogo v intellektual´noi i khudozhestvennoy kul´ture, ed. Evgenii Tsymbal, Viacheslav Okeanskii, Ivanovo: Talka, 2008, 105-112.

‘Worker Correspondents: Between Journalism and Literature,’Russian Review 66 (October 2007), pp. 568-585.

‘From Conduits to Commanders: Shifting Views of Worker Correspondents, 1924-1926,’ Revolutionary Russia, 19:2 (Dec 2006), pp. 131-149.

‘The International Reception of Early Soviet Sound Cinema:Chapaev in Britain and America,’ Historical Journal of Film, Radio and Television, Vol. 25, No. 2 (June 2005), pp. 273-89.

‘Educating Chapaev: from Document to Myth,’ in Stephen Hutchings and Anat Vernitskaia (eds), Screening the Word: Russian and Soviet Film Adaptations of Literature, London: Routledge, 2004.