Beardow, Frank, Little Vera (London: I.B. Tauris, 2003), pp. 72–91 <http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9780857714428&uid=^u>
Berghahn, Daniela, ‘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), 561–77 <https://www-tandfonline-com.ezproxy.library.qmul.ac.uk/doi/abs/10.1080/01439680600916884>
Berry, Ellen E, ‘Grief and Simulation in Kira Muratova’s The Aesthenic Syndrome’, The Russian Review (Stanford), 3, 1998 <https://www.jstor.org/stable/131957>
Bulgakowa, Oksana, ‘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)
Burns, P E, ‘An NEP Moscow Address: Abram Room’s Third Meshchanskaia (Bed and Sofa) in Historical Context’, Film & History, 4, 1982 <https://muse.jhu.edu/article/400643>
Cheu, Hoi, 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>
Elena Monastireva-Ansdell, ‘Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths’, The Russian Review, 65.2 (2006) <https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/3664399?pq-origsite=summon&seq=1#metadata_info_tab_contents>
Haskell, Molly, ‘The Woman’s Film’, in Feminist Film Theory: A Reader (Edinburgh: Edinburgh University Press, 1999)
Healey, Dan, Russian Homophobia from Stalin to Sochi (London: Bloomsbury Academic, an imprint of Bloomsbury Publishing, 2018), pp. 131–47 <http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781350000797&uid=^u>
Holmgren, Beth, ‘The Blue Angel and Blackface: Redeeming Entertainment in Aleksandrov’s Circus’, Russian Review, 66.1 (2007) <https://doi.org/10.1111/j.1467-9434.2006.00427.x>
Horton, Andrew, and Mikhail Brashinsky, ‘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>
Kaganovsky, Lilya, ‘The Cultural Logic of Late Socialism’, in The Russian Cinema Reader (Volume II, The Thaw to the Present), ed. by Rimgaila Salys (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>
Kolbovskii, Aleksandr, ‘‘Valeriia Gai-Germanika: Everybody Dies But Me (Vse Umrut, a Ia Ostanus’, 2008)’, Kinokultura, 22, 2008 <http://www.kinokultura.com/2008/22r-vseumrut.shtml>
Mayne, Judith, Kino and the Woman Question: Feminism and Soviet Silent Film (Columbus: Ohio State University Press), pp. 110–39
Mikhailova, Tatiana, and Mark Lipovetsky, 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) (Boston: Academic Studies Press, 2013), pp. 70–83 <http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9781618113764&uid=^u>
Northrop, Douglas, ‘Nationalizing Backwardness: Gender, Empire, and Uzbek Identity’, in A State of Nations: Nation-Making in the Age of Lenin and Stalin, ed. by Ronald Suny and Terry Martin (Oxford, 2001), pp. 191–222 <https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=430519&ppg=204>
Oudakerova, Lida, ‘A Walk Through the Ruins’, in The Cinema of the Soviet Thaw: Space, Materiality, Movement (Bloomington, Indiana: Indiana University Press, 2017), pp. 116–49 <https://doi.org/10.2307/j.ctt1zxz0fb.8>
Prokhorova, Elena, ‘The Post-Utopian Body Politic’, in Gender and National Identity in Twentieth-Century Russian Culture (DeKalb: Northern Illinois University Press), pp. 131–35
Rachel Morley, ‘Gender Relations in the Films of Evgenii Bauer’, The Slavonic and East European Review, 81.1 (2003) <https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/4213623?pq-origsite=summon&seq=1#metadata_info_tab_contents>
Rimgaila Salys, ‘Art Deco Aesthetics in Grigorii Aleksandrov’s “The Circus”’, The Russian Review, 66.1 (2007) <https://www-jstor-org.ezproxy.library.qmul.ac.uk/stable/20620476?pq-origsite=summon&seq=2#metadata_info_tab_contents>
Steve Neale, ‘Masculinity as Spectacle’, in Screening the Male: Exploring Masculinities in Hollywood Cinema, ed. by Steve Cohan and Rae Hark (New York, 1993), pp. 9–20 <https://ebookcentral-proquest-com.ezproxy.library.qmul.ac.uk/lib/gmul-ebooks/reader.action?docID=179867&ppg=20>
Stollery, Martin, Alternative Empires: European Modernist Cinemas and Cultures of Imperialism (Exeter: University of Exeter Press, 2000), Exeter studies in film history
Szaniawski, Jeremi, The Cinema of Alexander Sokurov: Figures of Paradox (New York: Columbia University Press, 2013), pp. 185–217 <https://www.jstor.org/stable/10.7312/szan16734>
Taubman, Jane, Kira Muratova (London: I.B. Tauris), iv <http://ezproxy.library.qmul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=QMUL&isbn=9786000007812&uid=^u>
Vassilieva, Julija, ‘“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 (2014), 59–79 <https://doi.org/10.1215/02705346-2408516>
White, Patricia, ‘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>
Wood, Elizabeth, 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>
