Beardow, F. (2003). Little Vera (pp. 72–91). I.B. Tauris. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9780857714428&uid=^u
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), 561–577. https://www-tandfonline-com.ezproxy.library.qmul.ac.uk/doi/abs/10.1080/01439680600916884
Berry, Ellen E. (1998). Grief and Simulation in Kira Muratova’s The Aesthenic Syndrome. The Russian Review (Stanford), 3. https://www.jstor.org/stable/131957
Bulgakowa, O. (1993). 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.
Burns, P E. (1982). An NEP Moscow address: Abram Room’s Third Meshchanskaia (Bed and sofa) in historical context. Film & History, 4. https://muse.jhu.edu/article/400643
Cheu, H. (2007). Cinematic Howling : Women’s Films, Women’s Film Theories. UBC Press. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3412419&ppg=60
Elena Monastireva-Ansdell. (2006). Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths. The Russian Review, 65(2). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/3664399?pq-origsite=summon&seq=1#metadata_info_tab_contents
Haskell, M. (1999). The Woman’s Film. In Feminist film theory: a reader. Edinburgh University Press.
Healey, D. (2018). Russian homophobia from Stalin to Sochi (pp. 131–147). Bloomsbury Academic, an imprint of Bloomsbury Publishing. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781350000797&uid=^u
Holmgren, B. (2007). The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus. Russian Review, 66(1). https://doi.org/10.1111/j.1467-9434.2006.00427.x
Horton, A., & Brashinsky, M. (2013). Between Joy and Suicide: Fathers, Daughters and Little Vera. In The Russian Cinema Reader,. Academic Studies Press. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3110539&ppg=103
Kaganovsky, L. (2013). The Cultural Logic of Late Socialism. In R. Salys (Ed.), The Russian Cinema Reader (Volume II, The Thaw to the Present). Academic Studies Press. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u
Kolbovskii, A. (2008). ‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse umrut, a ia ostanus’, 2008). Kinokultura, 22. http://www.kinokultura.com/2008/22r-vseumrut.shtml
Mayne, J. (n.d.). Kino and the woman question: feminism and Soviet silent film (pp. 110–139). Ohio State University Press.
Mikhailova, T., & Lipovetsky, M. (Eds.). (2013). 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) (pp. 70–83). Academic Studies Press. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u
Northrop, D. (2001). Nationalizing Backwardness: Gender, Empire, and Uzbek Identity. In R. Suny & T. Martin (Eds.), A State of Nations: Nation-Making in the Age of Lenin and Stalin (pp. 191–222). https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=430519&ppg=204
Oudakerova, L. (2017). A Walk Through the Ruins. In The cinema of the Soviet thaw: space, materiality, movement (pp. 116–149). Indiana University Press. https://doi.org/10.2307/j.ctt1zxz0fb.8
Prokhorova, E. (n.d.). The Post-Utopian Body Politic. In Gender and national identity in twentieth-century Russian culture (pp. 131–135). Northern Illinois University Press.
Rachel Morley. (2003). Gender Relations in the Films of Evgenii Bauer. The Slavonic and East European Review, 81(1). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/4213623?pq-origsite=summon&seq=1#metadata_info_tab_contents
Rimgaila Salys. (2007). Art Deco Aesthetics in Grigorii Aleksandrov’s ‘The Circus’. The Russian Review, 66(1). https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/20620476?pq-origsite=summon&seq=2#metadata_info_tab_contents
Steve Neale. (1993). Masculinity as Spectacle. In S. Cohan & R. Hark (Eds.), Screening the Male: Exploring Masculinities in Hollywood Cinema (pp. 9–20). https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20
Stollery, M. (2000). Alternative empires: European modernist cinemas and cultures of imperialism: Vol. Exeter studies in film history. University of Exeter Press.
Szaniawski, J. (2013). The cinema of Alexander Sokurov: figures of paradox (pp. 185–217). Columbia University Press. https://www.jstor.org/stable/10.7312/szan16734
Taubman, J. (n.d.). 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
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), 59–79. https://doi.org/10.1215/02705346-2408516
White, P. (1998). Feminism in Film. In The Oxford guide to film studies. Oxford University Press. http://www.loc.gov/catdir/enhancements/fy0603/97044590-t.html
Wood, E. (1997). The Baba and the Comrade: Gender and Politics in Revolutionary Russia. Indiana University Press. https://www-fulcrum-org.ezproxy.library.qmul.ac.uk/concern/monographs/8049g532n