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White P. Feminism in Film. In: The Oxford Guide to Film Studies. Oxford University Press; 1998. http://www.loc.gov/catdir/enhancements/fy0603/97044590-t.html
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Bulgakowa O. The Hydra of the Soviet Cinema: The Metamorphoses of the Soviet Film Heroine. In: Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era. Pandora; 1993.
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Rachel Morley. Gender Relations in the Films of Evgenii Bauer. The Slavonic and East European Review. 2003;81(1). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/4213623?pq-origsite=summon&seq=1#metadata_info_tab_contents
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Wood E. The Baba and the Comrade: Gender and Politics in Revolutionary Russia. Indiana University Press; 1997. https://www-fulcrum-org.ezproxy.library.qmul.ac.uk/concern/monographs/8049g532n
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Mayne J. Kino and the Woman Question: Feminism and Soviet Silent Film. Ohio State University Press; :110-139.
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Burns, P E. An NEP Moscow address: Abram Room’s Third Meshchanskaia (Bed and sofa) in historical context. Film & history. 1982;(4). https://muse.jhu.edu/article/400643
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Northrop D. Nationalizing Backwardness: Gender, Empire, and Uzbek Identity. In: Suny R, Martin T, eds. A State of Nations: Nation-Making in the Age of Lenin and Stalin. ; 2001:191-222. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=430519&ppg=204
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Stollery M. Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Vol Exeter studies in film history. University of Exeter Press; 2000.
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Holmgren B. The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus. Russian Review. 2007;66(1). doi:10.1111/j.1467-9434.2006.00427.x
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Rimgaila Salys. Art Deco Aesthetics in Grigorii Aleksandrov’s ‘The Circus’. The Russian Review. 2007;66(1). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/20620476?pq-origsite=summon&seq=2#metadata_info_tab_contents
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Elena Monastireva-Ansdell. Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths. The Russian Review. 2006;65(2). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/3664399?pq-origsite=summon&seq=1#metadata_info_tab_contents
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Berghahn D. 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. 2006;26(4):561-577. https://www-tandfonline-com.ezproxy.library.qmul.ac.uk/doi/abs/10.1080/01439680600916884
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Cheu H. Cinematic Howling : Women’s Films, Women’s Film Theories. UBC Press; 2007. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3412419&ppg=60
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Oudakerova L. A Walk Through the Ruins. In: The Cinema of the Soviet Thaw: Space, Materiality, Movement. Indiana University Press; 2017:116-149. doi:10.2307/j.ctt1zxz0fb.8
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Mikhailova T, Lipovetsky M, eds. Flight without Wings: The Subjectivity of a Female War Veteran in Shepit’ko’s Wings,’. In: The Russian Cinema Reader (Volume II, The Thaw to the Present). Academic Studies Press; 2013:70-83. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u
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Berry, Ellen E. Grief and Simulation in Kira Muratova’s The Aesthenic Syndrome. The Russian review (Stanford). 1998;(3). https://www.jstor.org/stable/131957
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Taubman J. Kira Muratova. Vol 4. I.B. Tauris http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9786000007812&uid=^u
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Vassilieva J. ‘Becoming-Girl’ in the New Russian Cinema: Youth and Valeria Gai Germanika’s Films and Television. Camera Obscura: Feminism, Culture, and Media Studies. 2014;29(1 85):59-79. doi:10.1215/02705346-2408516
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Kolbovskii A. ‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse umrut, a ia ostanus’, 2008). Kinokultura. 2008;(22). http://www.kinokultura.com/2008/22r-vseumrut.shtml
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Steve Neale. Masculinity as Spectacle. In: Cohan S, Hark R, eds. Screening the Male: Exploring Masculinities in Hollywood Cinema. ; 1993:9-20. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20
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Haskell M. The Woman’s Film. In: Feminist Film Theory: A Reader. Edinburgh University Press; 1999.
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Kaganovsky L. The Cultural Logic of Late Socialism. In: Salys R, ed. The Russian Cinema Reader (Volume II, The Thaw to the Present). Academic Studies Press; 2013. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u
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Prokhorova E. The Post-Utopian Body Politic. In: Gender and National Identity in Twentieth-Century Russian Culture. Northern Illinois University Press; :131-135.
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Horton A, Brashinsky M. Between Joy and Suicide: Fathers, Daughters and Little Vera. In: The Russian Cinema Reader,. Academic Studies Press; 2013. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3110539&ppg=103
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Beardow F. Little Vera. I.B. Tauris; 2003:72-91. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9780857714428&uid=^u
26.
Healey D. Russian Homophobia from Stalin to Sochi. Bloomsbury Academic, an imprint of Bloomsbury Publishing; 2018:131-147. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781350000797&uid=^u
27.
Szaniawski J. The Cinema of Alexander Sokurov: Figures of Paradox. Columbia University Press; 2013:185-217. https://www.jstor.org/stable/10.7312/szan16734