1
White P. Feminism in Film. In: The Oxford guide to film studies. Oxford: : Oxford University Press 1998. http://www.loc.gov/catdir/enhancements/fy0603/97044590-t.html
2
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. London: : Pandora 1993.
3
Rachel Morley. Gender Relations in the Films of Evgenii Bauer. The Slavonic and East European Review 2003;81.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. Bloomington, IN: : 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. Columbus: : Ohio State University Press
6
Burns, P E. An NEP Moscow address: Abram Room’s Third Meshchanskaia (Bed and sofa) in historical context. Film & history Published Online First: 1 December 1982.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. Oxford: 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. Exeter: : University of Exeter Press 2000.
9
Holmgren B. The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus. Russian Review 2007;66. 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.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.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;26:561–77.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. Vancouver and Toronto: : 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. Bloomington, Indiana: : Indiana University Press 2017. 116–49. doi:10.2307/j.ctt1zxz0fb.8
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Mikhailova T, Lipovetsky M, editors. 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). Boston: : 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) Published Online First: 1998.https://www.jstor.org/stable/131957
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Taubman J. Kira Muratova. London: : 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;29:59–79. 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 Published Online First: 2008.http://www.kinokultura.com/2008/22r-vseumrut.shtml
20
Steve Neale. Masculinity as Spectacle. In: Cohan S, Hark R, eds. Screening the Male: Exploring Masculinities in Hollywood Cinema. New York: 1993. 9–20.https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20
21
Haskell M. The Woman’s Film. In: Feminist film theory: a reader. Edinburgh: : Edinburgh University Press 1999.
22
Kaganovsky L. The Cultural Logic of Late Socialism. In: Salys R, ed. The Russian Cinema Reader (Volume II, The Thaw to the Present). Boston MA: : 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. DeKalb: : Northern Illinois University Press 131–5.
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Horton A, Brashinsky M. Between Joy and Suicide: Fathers, Daughters and Little Vera. In: The Russian Cinema Reader,. Boston, MA: : 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. London: : I.B. Tauris 2003. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9780857714428&uid=^u
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Healey D. Russian homophobia from Stalin to Sochi. London: : Bloomsbury Academic, an imprint of Bloomsbury Publishing 2018. http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781350000797&uid=^u
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Szaniawski J. The cinema of Alexander Sokurov: figures of paradox. New York: : Columbia University Press 2013. https://www.jstor.org/stable/10.7312/szan16734