Beardow, Frank. 2003. Little Vera. London: 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, Daniela. 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): 561–77. 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), no. 3. https://www.jstor.org/stable/131957.
Bulgakowa, Oksana. 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. London: Pandora.
Burns, P E. 1982. ‘An NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in Historical Context’. Film & History, no. 4 (December). https://muse.jhu.edu/article/400643.
Cheu, Hoi. 2007. Cinematic Howling : Women’s Films, Women’s Film Theories. Vancouver and Toronto: 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, Molly. 1999. ‘The Woman’s Film’. In Feminist Film Theory: A Reader. Edinburgh: Edinburgh University Press.
Healey, Dan. 2018. Russian Homophobia from Stalin to Sochi. London: 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, Beth. 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, Andrew, and Mikhail Brashinsky. 2013. ‘Between Joy and Suicide: Fathers, Daughters and Little Vera’. In The Russian Cinema Reader,. Boston, MA: Academic Studies Press. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=3110539&ppg=103.
Kaganovsky, Lilya. 2013. ‘The Cultural Logic of Late Socialism’. In The Russian Cinema Reader (Volume II, The Thaw to the Present), edited by Rimgaila Salys. Boston MA: 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, Aleksandr. 2008. ‘‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse Umrut, a Ia Ostanus’, 2008)’. Kinokultura, no. 22. http://www.kinokultura.com/2008/22r-vseumrut.shtml.
Mayne, Judith. n.d. Kino and the Woman Question: Feminism and Soviet Silent Film. Columbus: Ohio State University Press.
Mikhailova, Tatiana, and Mark Lipovetsky, 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), 70–83. Boston: 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, Douglas. 2001. ‘Nationalizing Backwardness: Gender, Empire, and Uzbek Identity’. In A State of Nations: Nation-Making in the Age of Lenin and Stalin, edited by Ronald Suny and Terry Martin, 191–222. Oxford. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=430519&ppg=204.
Oudakerova, Lida. 2017. ‘A Walk Through the Ruins’. In The Cinema of the Soviet Thaw: Space, Materiality, Movement, 116–49. Bloomington, Indiana: Indiana University Press. https://doi.org/10.2307/j.ctt1zxz0fb.8.
Prokhorova, Elena. n.d. ‘The Post-Utopian Body Politic’. In Gender and National Identity in Twentieth-Century Russian Culture, 131–35. DeKalb: 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 Screening the Male: Exploring Masculinities in Hollywood Cinema, edited by Steve Cohan and Rae Hark, 9–20. New York. https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20.
Stollery, Martin. 2000. Alternative Empires: European Modernist Cinemas and Cultures of Imperialism. Vol. Exeter studies in film history. Exeter: University of Exeter Press.
Szaniawski, Jeremi. 2013. The Cinema of Alexander Sokurov: Figures of Paradox. New York: Columbia University Press. https://www.jstor.org/stable/10.7312/szan16734.
Taubman, Jane. n.d. Kira Muratova. Vol. 4. 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.
Vassilieva, Julija. 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, Patricia. 1998. ‘Feminism in Film’. In The Oxford Guide to Film Studies. Oxford: Oxford University Press. http://www.loc.gov/catdir/enhancements/fy0603/97044590-t.html.
Wood, Elizabeth. 1997. The Baba and the Comrade: Gender and Politics in Revolutionary Russia. Bloomington, IN: Indiana University Press. https://www-fulcrum-org.ezproxy.library.qmul.ac.uk/concern/monographs/8049g532n.
