[1]
Beardow, F. 2003. Little Vera. I.B. Tauris.
[2]
Berghahn, D. 2006. Do the right thing? Female allegories of nation in Aleksandr Askoldov’s Komissar (USSR, 1967/87) and Konrad wolf’s Der Geteilte Himmel (GDR, 1964): Historical Journal of Film, Radio and Television: Vol 26, No 4. Historical Journal of Film, Radio and Television. 26, 4 (2006), 561–577.
[3]
Berry, Ellen E 1998. Grief and Simulation in Kira Muratova’s The Aesthenic Syndrome. The Russian review (Stanford). 3 (1998).
[4]
Bulgakowa, O. 1993. The Hydra of the Soviet Cinema: The Metamorphoses of the Soviet Film Heroine. Red women on the silver screen: Soviet women and cinema from the beginning to the end of the Communist era. Pandora.
[5]
Burns, P E 1982. An NEP Moscow address: Abram Room’s Third Meshchanskaia (Bed and sofa) in historical context. Film & history. 4 (Dec. 1982).
[6]
Cheu, H. 2007. Cinematic Howling : Women’s Films, Women’s Film Theories. UBC Press.
[7]
Elena Monastireva-Ansdell 2006. Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths. The Russian Review. 65, 2 (2006).
[8]
Haskell, M. 1999. The Woman’s Film. Feminist film theory: a reader. Edinburgh University Press.
[9]
Healey, D. 2018. Russian homophobia from Stalin to Sochi. Bloomsbury Academic, an imprint of Bloomsbury Publishing.
[10]
Holmgren, B. 2007. The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus. Russian Review. 66, 1 (Jan. 2007). DOI:https://doi.org/10.1111/j.1467-9434.2006.00427.x.
[11]
Horton, A. and Brashinsky, M. 2013. Between Joy and Suicide: Fathers, Daughters and Little Vera. The Russian Cinema Reader,. Academic Studies Press.
[12]
Kaganovsky, L. 2013. The Cultural Logic of Late Socialism. The Russian Cinema Reader (Volume II, The Thaw to the Present). R. Salys, ed. Academic Studies Press.
[13]
Kolbovskii, A. 2008. ‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse umrut, a ia ostanus’, 2008). Kinokultura. 22 (2008).
[14]
Mayne, J. Kino and the woman question: feminism and Soviet silent film. Ohio State University Press.
[15]
Mikhailova, T. and Lipovetsky, M. eds. 2013. Flight without Wings: The Subjectivity of a Female War Veteran in Shepit’ko’s Wings,’. The Russian Cinema Reader (Volume II, The Thaw to the Present). Academic Studies Press. 70–83.
[16]
Northrop, D. 2001. Nationalizing Backwardness: Gender, Empire, and Uzbek Identity. A State of Nations: Nation-Making in the Age of Lenin and Stalin. R. Suny and T. Martin, eds. 191–222.
[17]
Oudakerova, L. 2017. A Walk Through the Ruins. The cinema of the Soviet thaw: space, materiality, movement. Indiana University Press. 116–149.
[18]
Prokhorova, E. The Post-Utopian Body Politic. Gender and national identity in twentieth-century Russian culture. Northern Illinois University Press. 131–135.
[19]
Rachel Morley 2003. Gender Relations in the Films of Evgenii Bauer. The Slavonic and East European Review. 81, 1 (2003).
[20]
Rimgaila Salys 2007. Art Deco Aesthetics in Grigorii Aleksandrov’s ‘The Circus’. The Russian Review. 66, 1 (2007).
[21]
Steve Neale 1993. Masculinity as Spectacle. Screening the Male: Exploring Masculinities in Hollywood Cinema. S. Cohan and R. Hark, eds. 9–20.
[22]
Stollery, M. 2000. Alternative empires: European modernist cinemas and cultures of imperialism. University of Exeter Press.
[23]
Szaniawski, J. 2013. The cinema of Alexander Sokurov: figures of paradox. Columbia University Press.
[24]
Taubman, J. Kira Muratova. I.B. Tauris.
[25]
Vassilieva, J. 2014. ‘Becoming-Girl’ in the New Russian Cinema: Youth and Valeria Gai Germanika’s Films and Television. Camera Obscura: Feminism, Culture, and Media Studies. 29, 1 85 (Jan. 2014), 59–79. DOI:https://doi.org/10.1215/02705346-2408516.
[26]
White, P. 1998. Feminism in Film. The Oxford guide to film studies. Oxford University Press.
[27]
Wood, E. 1997. The Baba and the Comrade: Gender and Politics in Revolutionary Russia. Indiana University Press.