References:

Select Bibliography (Secondary Sources)

“Foreword.” In The Return of the Cold War: Ukraine, The West and Russia, edited by J. L. Black and Michael Johns, xvi-xviii. London and New York: Routledge, 2016.
Alilunas, Peter. Smutty Little Movies: The Creation and Regulation of Adult Video. Oakland, CA: University of California Press, 2016.
Alvarado, Manuel, ed. Video World-Wide: An International Study. London: Libbey, 1988.
Anderson, Barbara A., and Brian D. Silver. “Demographic Sources of the Changing Ethnic Composition of the Soviet Union,” in Population, Ethnicity, and Nation-Building, edited by Calvin Goldscheider, 149–200. Boulder, CO: Westview, 1995.
Appadurai, Arjun. “How Histories Make Geographies: Circulation and Context in a Global Perspective.” In The Future as Cultural Fact: Essays on the Global Condition, by Arjun Appadurai, 61–70. London and New York: Verso, 2013.
Arkus, Liubov’, ed. Kino i kontekst: Vol. IV, 1986–1988. Saint Petersburg: Seans, 2002.
Armes, Roy. On Video. London and New York: Routledge, 1988.
Ascheid, Antje. “Speaking Tongues: Voice Dubbing in the Cinema as Cultural Ventriloquism,” Velvet Light Trap 40 (1997): 32–41.
Åslund, Anders. Russia’s Capitalist Revolution: Why Market Reform Succeeded and Democracy Failed. Washington: Peterson Institute for International Economics, 2007.
Atanasoski, Neda, and Kalindi Vora. “Postsocialist Politics and the Ends of Revolution,” Social Identities: Journal for the Study of Race, Nation and Culture 24, no. 2 (2018): 139–54.
Atwood, Blake. Underground: The Secret Life of Videocassettes in Iran. Cambridge, MA: The MIT Press, 2021.
Babuscio, Jack. “Camp and Gay Sensibility.” In Camp Grounds: Style and Homosexuality, edited by David Bergman, 19–37. Amherst: University of Massachusetts Press, 1993.
Baer, Brian James. “Literary Translation and the Construction of a Soviet Intelligentsia,” The Massachusetts Review 47, no. 3 (2006): 537–60.
Bahun, Sanja. “The Human and the Possible: Animation in Central and Eastern Europe.” In Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917–1989. Re-Visions, edited by Sanja Bahun and John Haynes, 186–208. London and New York: Routledge, 2014.
Balina Marina, and Birgit Beumers. “‘To Catch Up and Overtake Disney?’: Soviet and Post-Soviet Fairy Tale Films.” In Fairy-Tale Films Beyond Disney International Perspectives, edited by Pauline Greenhill, Jack Zipes, and Kendra Magnus-Johnston, 124–138. New York and London: Routledge, 2016.
Barker, Adele Marie. “The Culture Factory: Theorizing the Popular in the Old and New Russia.” In Consuming Russia: Popular Culture, Sex, and Society since Gorbachev, edited by Adele Marie Barker, 3–11. Durham and London: Duke University Press, 1999.
Bastiansen, Henrik G., Martin Klimke, and Rolf Werenskjold. “Introduction: Mapping the Role of the Media in the Late Cold War.” In Media and the Cold War in the 1980s: Between Star Wars and Glasnost’, edited by Henrik G. Bastiansen, Martin Klimke, and Rolf Werenskjold, 1–18. London: Palgrave Macmillan, 2019.
Batkin, Jane. Identity in Animation: A Journey Into Self, Difference, Culture and the Body. New York: Routledge, 2017.
Bauman, Zygmunt. Intimations of Postmodernity. London and New York: Routledge, 2003.
———. Liquid Modernity. Cambridge, UK: Polity, 2012.
Bendazzi, Giannalberto. Animation: A World History: Volume II: The Birth of a Style–The Three Markets. Boca Raton: CRC Press, 2016.
Benjamin, Walter. “The Storyteller: Observations on the Works of Nikolai Leskov.” In Walter Benjamin: Selected Writings, Volume 3, 1935–1938, translated by Edmund Jephcott, edited by Howard Eiland and Michael Jennings, 143–166. Cambridge, MA: Harvard University Press, 2002.
Benson-Allott, Caetlin. Killer Tapes and Shattered Screens: Video Spectatorship From VHS to File Sharing. Berkley: University of California Press, 2013.
Berdy, Michele, et al. “Kinoperevod: Malo, chto ot Boga, mnogo chego ot Goblina” [Film translation: there is little from God, much from Goblin], Mosty 8, no. 4 (2005): 52–62.
Bettig, Ronald V., and Jeanne Lynn Hall. Big Media, Big Money: Cultural Texts and Political Economics. Lanham, MD: Rowman and Littlefield, 2012.
Betz, Mark. Beyond the Subtitle: Remapping European Art Cinema. Minneapolis: University of Minnesota Press, 2009.
Beumers, Birgit, and Eugénie Zvonkine. “Introduction: Re-Construction, or Perestroika. Re-Visioning, Re-Making, Re-Framing.” In Ruptures and Continuities in Soviet/Russian Cinema: Styles, Characters and Genres Before and After the Collapse of the USSR, edited by Birgit Beumers and Eugénie Zvonkine, 1–11. London and New York: Routledge, 2017.
Beumers, Birgit. “Soviet and Russian Blockbusters: A Question of Genre?” Slavic Review 62, no. 3 (2003): 441–54.
Biasioli, Marco. “Piracy as an Institutionalized Social Practice and Soviet and Post-Soviet Russia.” In Eastern European Music Industries and Policies After the Fall of Communism: From State Control To Free Market, edited by Patryk Galuszka, 41–61. New York: Routledge, 2021.
Bilaniuk, Laada. Contested Tongues: Language Politics and Cultural Correction in Ukraine. Ithaca and London: Cornell University Press, 2005.
Black, J. L. and Michael Johns, “Foreword.” In The Return of the Cold War: Ukraine, The West and Russia, edited by J. L. Black and Michael Johns, xvi-xviii. London and New York: Routledge, 2016.
Bönker, Kirsten. Television and Political Communication in the Late Soviet Union. London: Lexington Books, 2020.
Borenstein, Eliot. Overkill: Sex and Violence in Contemporary Russian Popular Culture. Ithaca and London: Cornell University Press, 2008.
Bouchard, Vincent. “Commentary and Orality in African Film Reception.” In Viewing African Cinema in the Twenty-First Century: Art Films and the Nollywood Video Revolution, edited by Ralph A Austen and Mahir Saul, 95–107. Athens, Ohio: Ohio University Press, 2010.
Boyd, ‎ Douglas A., Joseph D. Straubhaar, ‎and John A. Lent. Videocassette Recorders in the Third World. New York and London: Longman, 1989.
Boyd, Douglas. “The Videocassette Recorder in the USSR and Soviet-Bloc Countries.” In The VCR Age: Home Video and Mass Communication, edited by Mark R. Levy, 252–70. Newbury Park, CA: Sage Publications, 1989.
Boym, Svetlana. Common Places: Mythologies of Everyday Life in Russia. Cambridge: Harvard University Press, 1994.
———. The Future of Nostalgia. New York: Basic Books, 2001.
Buck-Morss, Susan. Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West. Cambridge, MA: The MIT Press, 2002.
Calori, Anna, Anne-Kristin Hartmetz, ‎and Bence Kocsev. “Alternative Globalization? Spaces of Economic Interaction between the ‘Socialist Camp’ and the ‘Global South’”. In Between East and South: Spaces of Interaction in the Globalizing Economy of the Cold War, edited by Anna Calori, Anne-Kristin Hartmetz, ‎and Bence Kocsev, 1–32. Boston: De Gruyter Oldenbourg, 2019.
Carbone, Cristina. “Staging the Kitchen Debate: How Splitnik Got Normalized in the United States.” In Cold War Kitchen Americanization, Technology, and European Users, edited by Ruth Oldenziel and Karin Zachmann, 59–81. Cambridge: The MIT Press, 2011.
Castells, Manuel. End of Millennium. Malden, MA: Wiley-Blackwell, 2010.
———. The Rise of the Network Society. Malden, MA: Wiley-Blackwell, 2010.
Česálková, Lucie. “Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia,” Journal of Film and Video 74, no. 3 (2022): 34–47.
Chernetsky, Vitaly. “A Battle for Translation.” In Translation Under Communism, edited by Christopher Rundle, Anne Lange, ‎and Daniele Monticelli, 411–42. Cham: Palgrave Macmillan, 2022.
Chernyshova, Natalya. “Consumers as Citizens: Revisiting the Question of Public Disengagement in the Brezhnev Era.” In Reconsidering Stagnation in the Brezhnev Era: Ideology and Exchange, edited Dina Fainberg and Artemy M. Kalinovsky, 3–20. Lanham: Lexington Books, 2016.
———. Soviet Consumer Culture in the Brezhnev Era. London: Routledge, 2013.
Chion, Michel. Words on Screen, translated by Claudia Gorbman. New York: Columbia University Press, 2013.
Chong, Sylvia Shin Huey. The Oriental Obscene: Violence and Racial Fantasies in the Vietnam Era. Durham and London: Duke University Press, 2012.
Clark, Katerina. The Soviet Novel: History as Ritual. Bloomington and Indianapolis: Indiana University Press, 2000.
Cowen, Eleanor. Animation Behind the Iron Curtain. Bloomington: Indiana University Press, 2020.
Cunningham, John. Hungarian Cinema: From Coffee House to Multiplex. London and New York: Wallflower Press, 2004.
Danan, Martine. “Dubbing as an Expression of Nationalism,” Meta 36, no. 4 (1991): 606–14;
Daniels, Dieter, and Jan Thoben. “Preface.” In Video Theories: A Transdisciplinary Reader, edited by Dieter Daniels and Jan Thoben, xvi–xxxvi. New York: Bloomsbury, 2022.
Danilov, A. A. Stanovlenie i razvitie televideniia v regionakh Rossii vo vtoroi polovine XX-nachale XXI vv. (na materialakh Mariiskoi, Mordovskoiq i Chuvashskoi respublik). Cheboksary: Izd-vo Chuvash. un-ta, 2009.
David-Fox, Michael. “The Iron Curtain As Semipermeable Membrane: Origins and Demise of the Stalinist Superiority Complex.” In Cold War Crossings: International Travel and Exchange across the Soviet Bloc, 1940s-1960s, edited by Patryk Babiracki et al., 14–39. College Station: Texas A&M University Press, 2014.
Dawdy, Shannon Lee. “Clockpunk Anthropology and the Ruins of Modernity,” Current Anthropology 51, no. 6 (2010): 761–93.
Debray, Régis. “Socialism: A Life-Cycle,” New Left Review, no. 46 (July/August 2007): 5–28.
Djagalov, Rossen. From Internationalism to Postcolonialism: Literature and Cinema between the Second and the Third Worlds. Montreal: McGill-Queen’s University Press, 2020.
Dobrenko, Evgeny. The Making of the State Reader: Social and Aesthetic Contexts of the Reception of Soviet Literature, translated by by Jesse M. Savage. Stanford, CA: Stanford University Press, 1997.
Dubin, Boris. Slovo—pis’mo—literature: Ocherki po sotsiologii sovremennoi kul’tury. Moscow: NLO, 2001.
Ďurovičová, Nataša. “Vector, Flow, Zone: Towards a History of Cinematic Translation.” In World Cinemas, Transnational Perspectives, edited by Nataša Ďurovičová and Kathleen Newman, 90–120. New York and London: Routledge, 2009.
Dwyer, Tessa, and Ioana Uricaru, “‘Slashings and Subtitles: Romanian Media Piracy, Censorship, and Translation,’” The Velvet Light Trap, no. 63 (2009): 45–57.
Dwyer, Tessa. “B-Grade Subtitles.” In B Is for Bad Cinema: Aesthetics, Politics, and Cultural Value, edited by Claire Perkins and Constantine Verevis, 43–64. Albany: SUNY Press, 2014.
———. “Straining to Hear (Deleuze),” The South Atlantic Quarterly 96, no. 3 (1997): 543–62.
———. Speaking in Subtitles: Revaluing Screen Translation. Edinburgh: Edinburgh University Press, 2017.
Einola, Katya, and Normand Turgeon, “International Marketing of Canadian Television Programs: Industry Players, Export Successes and Strategic Challenges,” International Journal of Arts Management 3, no. 1 (2000): 46–61.
Ellsworth, Lawrence. Cinema of Swords: A Popular Guide to Movies about Knights, Pirates, Barbarians, and Vikings (and Samurai and Musketeers and Gladiators and Outlaw Heroes). Lanham, MD: the Rowman & Littlefield Publishing Group, 2023.
Evans, Christine. Between Truth and Time: A History of Soviet Central Television. New Haven: Yale University Press, 2016.
Fair, Laura. Reel Pleasures: Cinema Audiences and Entrepreneurs in Twentieth-Century Urban Tanzania. Athens: Ohio University Press, 2018.
Falicov, Tamara L. “U.S.-Argentine Co-productions, 1982-1990: Roger Corman, Aries Productions, ‘Schlockbuster’ Movies, and the International Market,” Film and History 34, no. 1 (2004): 31–8.
Faraday, George. Revolt of the Filmmakers: The Struggle For Artistic Autonomy and the Fall of the Soviet Film Industry. University Park: Pennsylvania State University Press, 2000.
Fedorov, Aleksandr. Luchshie i khudshie fil’my sovetskogo prokata: mneniia chitatelei zhurnala ‘Sovetskii ekran’ (1958—1991). Moscow: OD Informatsiia dlia vsekh, 2022.
Fitzpatrick, Sheila. The Shortest History of the Soviet Union. New York: Columbia University Press, 2022.
Flanagan, Kevin M. “‘Civilization…Ancient and Wicked’: Historicizing the Ideological Field of 1980s Sword and Sorcery Films.” In Of Muscles and Men: Essays on the Sword and Sandal Film, edited by Michael Cornelius, 87–103. Jefferson, NC: McFarland & Company, 2011.
Franco, Eliana, Anna Matamala, and Pilar Orero. Voice-Over Translation: An Overview. Berlin: Peter Lang, 2010.
Freer, Ian. The Complete Spielberg. London: Virgin, 2001.
Fukuyama, Francis. The End of History and the Last Man. New York: The Free Press, 1992.
Gaiba, Francesca. The Origins of Simultaneous Interpretation: The Nuremberg Trial. Ottawa: University of Ottawa Press, 1998.
Galt, Rosalind. Pretty: Film and the Decorative Image. New York: Columbia University Press, 2011.
Ganley, Gladys D., and Oswald H. Ganley. Global Political Fallout: The First Decade of the VCR, 1976–1985. Cambridge, MA: Harvard University Press, 1987.
Garritano, Carmela. African Video Movies and Global Desires: A Ghanaian History. Athens: Ohio University Press, 2013.
Gergely, Gábor. “Only Drawn That Way: Ethnic and Racial Difference in Macskafogó/Cat City (1986) and Macskafogó 2/Cat City 2 (2007)”: 2. Conference Paper, accessed February 10, 2023, https://eprints.lincoln.ac.uk/id/eprint/29929/1/GG%20Cat%20City%20paper.pdf.
Geusa, Antonio. History of Russian Video Art. Moscow: Moscow Museum of Modern Art, 2007.
Gibbs, Joseph. Gorbachev’s Glasnost: The Soviet Media in the First Phase of Perestroika. Austin: Texas University Press, 1999.
Giesen, Rolf. Animation in Europe. Boca Raton: CRC Press, 2022.
Gilburd, Eleonory. To See Paris and Die: The Soviet Lives of Western Culture. Massachusetts: Harvard University Press, 2018.
Gilić, Nikica. “New Croatian Cinema: Literature and Genre in the Post-Yugoslav Era.” In Small Cinemas in Global Markets: Genres, Identities, Narratives, edited by David Desser, Janina Falkowska, and Lenuta Giukin, 151–69. New York: Lexington, 2015.
Gitelman, Lisa, Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press, 2006.
Goldschmidt, Paul W. “Pornography in Russia.” In Consuming Russia: Popular Culture, Sex, and Society since Gorbachev, edited by Adele Marie Barker, 318–38. Durham and London: Duke University Press, 1999.
———. Pornography and Democratization: Legislating Obscenity in Post-Communist Russia. Boulder: Westview Press, 1999.
Gomulka, Stanislaw. Growth, Innovation, and Reform in Eastern Europe. Brighton: Wheatsheaf, 1986.
Gorham, Michael S. After Newspeak: Language Culture and Politics in Russia from Gorbachev to Putin. Ithaca and London: Cornell University Press, 2014.
Gorsuch, Anne E. All this is Your World: Soviet Tourism at Home and Abroad After Stalin. Oxford: Oxford University Press, 2011.
Goscilo, Helena, and Vlad Strukov, “Introduction. In Celebrity and Glamour in Contemporary Russia: Shocking Chic, edited by Helena Goscilo and Vlad Strukov, 1–26. London and New York: Routledge, 2011.
Gray, Jonathan. “Mobility Through Piracy; or, How Steven Seagal Got to Malawi,” Popular Communication, no. 9 (2011): 99–113.
Greenberg, Joshua. From Betamax to Blockbuster: Video Stores and the Invention of Movies on Video. Cambridge, MA: The MIT Press, 2008.
Grigaravičiūtė, Ieva, and Henrik Gottlieb. “Danish Voices, Lithuanian Voice-Over,” Perspectives 7, no. 1 (1999): 41–80.
Gržinić, Marina. “Video in the Time of a Double, Political and Technological Transition in the Former Eastern European Context.” In Transitland: Video Art From Central and Eastern Europe, 1989–2009, edited by Edit András, 17–33. Budapest: Ludwig Museum–Museum of Contemporary Art, 2011.
Halas, John. Masters of Animation. Topsfield, Mass.: Salem House, 1987.
Hanák, Péter. “The Cultural Role of the Vienna-Budapest Operetta.” In The Garden and the Workshop: Essays on the Cultural History of Vienna and Budapest, by Péter Hanák, 135–46. Princeton: Princeton University Press, 2014.
Hansági, Ágnes. “Literary Capital and Mass Media: Umberto Eco, Charles Dickens, Mór Jókai, Zsigmond Móricz.” In Hungarian Perspectives on the Western Canon: Post-Comparative Readings, edited by Laszlo Bengi, et al., 78–105. Newcastle Upon Tyne: Cambridge Scholars Publishing, 2017.
Herbert, Daniel. Videoland: Movie Culture at the American Video Store. Berkeley, CA: University of California Press, 2014.
Hilderbrand, Lucas. Inherent Vice: Bootleg Histories of Videotape and Copyright. Durham and London: Duke University Press, 2009.
Hooglund, Eric. “Iran and Central Asia.” In From the Gulf To Central Asia: Players in the New Great Game, edited by Anoushiravan Ehteshami, 114–28. Exeter: University of Exeter Press, 1994.
Hou, Yiyang. “Projecting the ‘Modern’: The Reconstruction of Urban Cinemas in Post-Mao China, 1987–1989,” Journal of Chinese Cinemas 16, no. 1 (2022): 74–91.
Howard, Rick. Cyber Fraud: Tactics, Techniques and Procedures. Boca Raton: CRC Press, 2009.
Hunt, Leon. “Han’s Island Revisited: Enter the Dragon as Transnational Cult Film.” In The Cult Film Reader, edited by Ernest Mathijs and Xavier Mendik, 301–8. New York: Open Univesity Press, 2008.
Hunter, I.Q. Cult Film as a Guide to Life: Fandom, Adaptation, and Identity. New York: Bloomsbury, 2016.
Imre, Anikó. “Screen Gypsies,” Framework: The Journal of Cinema and Media 44, no. 2 (2003): 15–33.
———. Identity Games: Globalization and the Transformation of Media Cultures in the New Europe. Cambridge, MA: The MIT Press, 2009.
———. TV Socialism. Durham and London: Duke UP, 2016.
Iordanova, Dina. “Images of Romanies in Cinema: A Rough Sketch?” Framework: The Journal of Cinema and Media 44, no. 2 (2003): 5–14.
Ivanova, Anna. Magaziny “Berezka”: paradoksy potrebleniia v pozdnem SSSR. Moscow: NLO, 2017.
Iwabuchi, Koichi. Recentering Globalization: Popular Culture and Japanese Transnationalism. Durham and London: Duke University Press, 2002.
Iyer, Pico. Video Night in Kathmandu: And Other Reports from the Not-So-Far East. New York and London: Bloomsbury, 1989.
Chan, Jachinson W. “Bruce Lee’s Fictional Models of Masculinity,” Men and Masculinities, no. 2 (2000): 371–87.
Jameson, Fredric. “Reification and Utopia in Mass Culture,” Social Text, no. 1 (1979): 130–48.
Jancovich, Mark, and Lucy Faire, “The Best Place To See a Film: The Blockbuster, the Multiplex, and the Contexts of Consumption.” In Movie Blockbusters, edited by Julian Stringer, 190–201. London and New York: Routledge, 2003.
Jersild, Austin. “The Soviet State as Imperial Scavenger: ‘Catch Up and Surpass’ in the Transnational Socialist Bloc, 1950–1960,” The American Historical Review 116, no. 1 (2011): 109–32.
Johnson, Vida, and Elena Stishova. “Perestroika and Post-Soviet Cinema, 1985–2000s.” In The Russian Cinema Reader: Volume Two, The Thaw to the Present, edited by Rimgaila Salys, 190–208. Boston: Academic Studies Press, 2013.
Joseph, May. “Kung Fu and Frugality.” In Nomadic Identities: The Performance of Citizenship by May Joseph, 49–68. Minneapolis: University of Minnesota Press, 1999.
Kaganovsky, Lilya. The Voice of Technology: Soviet Cinema's Transition to Sound, 1928–1935. Bloomington: Indiana University Press, 2018.
Karnes, Kevin C. “Disco Culture and the Ritual Journey in the Soviet 1980s.” In Music and Change in the Eastern Baltics Before and After 1989, edited by Małgorzata Janicka-Słysz and Rūta Stanevičiūtė. Boston, MA: Academic Studies Press, 2022.
Karpovich, Angelina. “(In)Action Film: Genre and Identity in Rashid Nugmanov’s The Needle.” In Genre in Asian Film and Television: New Approaches, edited by Angelina Karpovich, Felicia Chan, and Xin Zhang, 165–77. New York: Palgrave Macmillan, 2011.
Katz, Maya Balakirsky. Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation. New Brunswick, NJ: Rutgers University Press, 2016.
Keeran, Roger, and Thomas Kenny, Socialism Betrayed: Behind the Collapse of the Soviet Union. New York: International Publishers, 2004.
Kelly, Catriona. Soviet Art House: Lenfilm Studio Under Brezhnev. New York: Oxford University Press, 2021.
Kiriya, Ilya, and Elena Sherstoboeva, “Russian Media Piracy in the Context of Censoring Practices,” International Journal of Communication, no. 9 (2015): 839–51.
Klinger, Barbara “Contraband Cinema: Piracy, Titanic, and Central Asia.” Cinema Journal 49, no. 2 (2010): 106–24.
———. Beyond the Multiplex: Cinema, New Technologies, and the Home. Berkeley: University of California Press, 2006.
Knight, Claire. “Enemy Films on Soviet Screens: Trophy Films during the Early Cold War, 1947–52,” Kritika: Explorations in Russian and Eurasian History 18, no. 1 (2017): 125–49.
Kobrin, Kirill. “Utonuvshee desiatiletie, ili Chto proizoshlo, kogda umer Brezhnev,” Neprikosnovennyi zapas, no. 6 (2012), https://www.nlobooks.ru/magazines/neprikosnovennyy_zapas/86_nz_6_2012/article/13318/.
Kon, Igor’. “Sexuality and Culture.” In Sex and Russian Society, edited by Igor’ Kon and James Riordan, 15–44. Bloomington: Indiana University Press, 1993.
Konradova, Natalya, and Henrike Schmidt. “From the Utopia of Autonomy to a Political Battlefield: Towards a History of the Russian Internet.” In Digital Russia: The Language, Culture and Politics of New Media Communication, edited by Michael S. Gorham, et. al. (New York and London: Routledge, 2014): 39.
Kornilov, Evgeny. “Union of Soviet Socialist Republics.” In Video World-Wide: An International Study, edited by Manuel Alvarado, 197–210. London: Libbey, 1988.
Kosinova, Marina. “Kinofikatsiia sovetskoi kinematografii v gody ‘Zastoia,’” Vestnik universiteta, no. 3 (2016): 225–29.
———. “Parametry krizisa organizatsionno-ekonomicheskoi sistemy sovetskogo kinematografa.” In Posle ottepeli. Kinematograf 1970-kh, edited by Andrei Shemiakin and Iuliia Mikheeva, 9–73. Moscow: NII kinoiskusstva, 2009.
Krings, Matthias. “Karishika with Kiswahili Flavor: A Nollywood Film Retold by a Tanzanian Video Narrator.” In Global Nollywood: The Transnational Dimensions of an African Video Film Industry, edited by Matthias Krings and Onookome Okome, 306–326. Bloomington: Indiana University Press, 2013.
Kukulin, I. et. al. Veselye chelovechki: Kul’turnye geroi sovetskogo detstva. Moscow: NLO, 2008.
Lane, David. The Capitalist Transformation of State Socialism: The Making and Breaking of State Socialist Society, and What Followed. London and New York: Routledge, 2014.
Larcher, Jonathan. “Shot and Never Seen Again: Videotapes as Waste and Merchandise in Post-Socialist Romania,” NECSUS: European Journal of Media Studies. Solidarity 10, no. 1 (2021): 121–43.
Larkin, Brian. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham and London, Duke University Press, 2008.
Lawton, Anna. Kinoglasnost: Soviet Cinema in Our Time. New York: Cambridge University Press, 1992.
Levy, Mark R., editor. The VCR Age: Home Video and Mass Communication. Newbury Park, CA: Sage Publications, 1989.
Lobato, Ramon. Shadow Economies of Cinema: Mapping Informal Film Distribution. London: BFI, 2012.
Lovejoy, Alice “‘Video Knows No Borders’: Samizdat Television and the Unofficial Public Sphere in ‘Normalized’ Czechoslovakia.” In Samizdat, Tamizdat, and Beyond: Transnational Media During and After Socialism, edited by Friederike Kind-Kovács and Jessie Labov, 206–17. New York and London: Berghahn Books, 2013.
Lovejoy, Alice and Mari Pajala. “Introduction.” In Remapping Cold War Media: Institutions Infrastructures, Translations, edited by Alice Lovejoy and Mari Pajala, 1–16. Bloomington: Indiana University Press, 2022.
Lovell, Stephen. Russia in the Microphone Age: A History of Soviet Radio, 1919–1970. Oxford: Oxford University Press, 2015.
MacFadyen, David. Yellow Crocodiles and Blue Oranges: Russian Animated Film Since World War Two. Montreal: McGill-Queen's University Press, 2005.
Magnan-Park, Aaron Han Joon. “Dubbese Fu: The Kung Fu Wave and The Aesthetics of Imperfect Lip Synchronization,” Journal of Chinese Cinemas 12, no. 3 (2018): 219–236.
———. “The Desire for a Poly-Asian Continental Film Movement.” In The Palgrave Handbook of Asian Cinema, edited by Aaron Han Joon Magnan-Park, Gina Marchetti, and See Kam Tan, 15–52. New York: Palgrave, 2018.
Marchetti, Gina. “Firecracker: Contest and Contradiction,” Jump Cut, no. 32 (1987): 44–6, https://www.ejumpcut.org/archive/onlinessays/JC32folder/firecracker.html.
Margolit, Evgeny. “The Problem of Heteroglossia in Early Soviet Sound Cinema (1930–35).” In Sound, Speech, Music in Soviet and Post-Soviet Cinema, edited by Lilya Kaganovsky and Masha Salazkina, 119–28. Bloomington and Indianapolis: Indiana University Press, 2014.
Martin-Jones, David. “Film-Philosophies For World Cinemas’ Engagement With World History.” In The Routledge Companion To World Cinema, edited by Rob Stone, ‎Paul Cooke, ‎and Stephanie Dennison, 279–89. New York: Routledge, 2018.
Mason, Mark. Europe and the Japanese Challenge: The Regulation of Multinationals in Comparative Perspective. Oxford: Oxford University Press, 1997.
Mattelart, Tristan. “Pre-1989 East-West Video–Entertainment Without Borders,” Réseaux. The French Journal of Communication 2, no. 2 (1994): 267–80.
McDonald, Paul. Video and DVD Industries. London: British Film Institute, 2007.
McKenna, Mark. Nasty Business: The Marketing and Distribution of the Video Nasties. Edinburgh: Edinburgh University Press, 2020.
McKevitt, Andrew C. Consuming Japan: Popular Culture and the Globalizing of 1980s America. Chapel Hill: The University of North Carolina Press, 2003.
Meinel, Dietmar. “Cultural Studies and the Un/Popular: How the Ass-Kicking Work of Steven Seagal May Wrist-Break Our Paradigms of Culture,” Unpopular Culture, edited by Martin Lüthe and ‎Sascha Pöhlmann, 241–59. Amsterdam: Amsterdam University Press, 2016.
Mes, Tom. Japanese Film and the Challenge of Video. New York: Routledge, 2023.
Meyer, Birgit. Sensational Movies: Video, Vision, and Christianity in Ghana. Oakland, CA: University of California Press, 2015.
Mickiewicz, Ellen. Split Signals: Television and Politics in the Soviet Union. New York/Oxford: Oxford University Press, 1988.
Moritz, William. “Narrative Strategies for Resistance and Protest in Eastern European Animation.” In A Reader In Animation Studies, edited by Jayne Pilling, 38–47. London: John Libbey, 1997.
Morris, Meaghan. “Transnational Imagination in Action Cinema: Hong Kong and the Making of a Global Popular Culture,” Inter-Asia Cultural Studies 5, no. 2 (2004): 181–99.
Muir, John Kenneth. The Films of John Carpenter. Jefferson, North Carolina, and London: McFarland and Company, 2005.
Murray, Susan. Bright Signals: A History of Color Television. Durham: Duke University Press, 2018.
Neves, Joshua and Bhaskar Sarkar. “Introduction.” In Asian Video Cultures: In the Penumbra of the Global, editors Joshua Neves and Bhaskar Sarkar, 1–34. Durham and London: Duke University Press, 2017.
Newman, Michael Z. Video Revolutions: On the History of a Medium. New York: Columbia University Press, 2014.
Nornes, Abé Markus. Cinema Babel: Translating Global Cinema. Minneapolis: University of Minnesota Press, 2007.
Nötzold, Jürgen. “Technology Transfer.” In Economic Warfare Or Détente: An Assessment Of East-West Economic Relations in the 1980s, edited by Reinhard Rode and Hanns-D. Jacobsen, 50–62. Boulder: Westview Press, 1985.
O’Sullivan, Carol. Translating Popular Film. London: Palgrave Macmillan, 2011.
Ogan, Christine. “The Worldwide Cultural and Economic Impact of Video.” In The VCR Age: Home Video and Mass Communication, edited by Mark R. Levy, 230–51. Newbur Park, CA: Sage Publications, 1989.
Oldenziel Ruth, and Karin Zachmann, eds. Americanization, Technology, and European Users. Cambridge, MA: The MIT Press, 2011.
Panin, Stanislav. “Astral Karate as a Phenomenon of Late-Soviet Esoteric Underground,” Open Theology 3, no. 1 (2017): 408–16.
Pavlov, Aleksandr. “‘Videodrom’: formirovanie videokultury v Sovetskoi Rossii v 1980–1990-e gody” [‘Videodrome’: formation of video culture in Soviet Russia in the 1980s and 1990s]. In SSSR: Zhizn’ posle smerti, edited by Irina Glushchenko, et al., 137–59. Moscow: VSHE, 2012.
Pavlov, Alexander, and Polina Khanova. “Cult in Everything But Name? Transnational Experiences of (Western) Cult Cinema in Late Soviet and Early Post-Soviet Russia.” Transnational Cinemas 8, no. 1 (2016): 49–64.
Pertierra, Anna Cristina “Private Pleasures: Watching Videos in Post-Soviet Cuba,” International Journal of Cultural Studies 12, no. 2 (2009): 113–30.
Péteri, Gy. “Nylon Curtain: Transnational and Trans-Systemic Tendencies in the Cultural Life of State-Socialist Russia and East-Central Europe,” Slavonica 10, no. 2 (2004): 113–24.
Peters, Benjamin. How Not to Network a Nation: The Uneasy History of the Soviet Internet. Cambridge, MA: The MIT Press, 2016.
Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. New York: Penguin Books, 2006.
Pozner, Valérie. “Le bonimenteur « rouge » Retour sur la question de l’oralité à propos du cas soviétique,” Cinémas 14, no. 2–3 (2004): 143–78.
———. “Ot fil’ma k seansu.” In Sovetskaia vlast’ i media, edited by Kh. Giunter and S. Khensgen, 329–50. Saint Petersburg: Akademicheskii proekt, 2005.
Prokhorov, Alexander, and Elena Prokhorova. Film and Television Genres of the Late Soviet Era. New York and London: Bloomsbury, 2017.
Prokhorova, Elena. “Cinema of Stagnation, Late 1960s–1985.” In The Russian Cinema Reader: Volume Two, The Thaw to the Present, edited by Rimgaila Salys, 104–13. Boston: Academic Studies Press, 2013.
Pula, Besnik. Globalization Under and After Socialism: The Evolution of Transnational Capital in Central and Eastern Europe. Stanford, CA: Stanford University Press, 2018.
Rajagopalan, Sudha. Indian Films in Soviet Cinemas: The Culture of Movie-Going after Stalin. Bloomington: Indiana University Press, 2008.
Razlogova, Elena. “An Air Map for World Cinema: Aeroflot as an Infrastructure for Cinematic Internationalism,” The Russian Review, no. 80 (2021): 661–80.
———. “Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema.” In Sound, Speech, Music in Soviet and Post-Soviet Cinema, edited by Lilya Kaganovsky and Masha Salazkina, 162–78. Bloomington: Indiana University Press, 2014.
———. “On Soviet Spoken Cinema.” In Remapping Cold War Media: Institutions, Infrastructures, Translations, edited by Alice Lovejoy and Mari Pajala, 157–75. Bloomington: Indiana University Press, 2022.
———. “The Liberation Politics of Live Translation: Global South Cinemas in Soviet Tashkent,” JCMS 59, no. 4 (2020): 183–88.
Reid, Susan E. “‘Our Kitchen Is Just as Good’: Soviet Responses to the American Kitchen.” In Cold War Kitchen Americanization, Technology, and European Users, edited by Ruth Oldenziel and Karin Zachmann, 83–112. Cambridge, MA: The MIT Press, 2011.
Remington, Thomas F. “Gorbachev and the Strategy of Glasnost’”. In Politics and the Soviet System: Essays in Honour of Frederick C. Barghoorn, edited by Thomas F. Remington, 56–82. New York: Palgrave Macmillan, 1989.
Robinson, Chris. “English-Canadian Animation: 1975–2000.” In North of Everything: English-Canadian Cinema Since 1980, edited by William Beard and Jerry White, 60–71. Edmonton: University of Alberta Press 2002.
Rollberg, Peter. The Cinema of Soviet Kazakhstan, 1925–1991: An Uneasy Legacy. New York: Lexington Books, 2022.
Roth-Ey, Kristin. Moscow Prime Time: How the Soviet Union Built the Media Empire That Lost the Cultural Cold War. Ithaca, NY: Cornell University Press, 2011.
Ružić, Andrijana. “The Importance of Ranko Munitić’s Work on the Zagreb School of Animation.” In Global Animation Theory: International Perspectives at Animafest Zagreb, edited by Franziska Bruckner, et al., 163–76. New York and London: Bloomsbury Publishing, 2018.
Salazkina, Masha. Romancing ‘Yesenia’: How a Mexican Melodrama Shaped Global Popular Culture. Oakland, CA: California University Press, forthcoming.
———. World Socialist Cinema: Alliances, Affinities, and Solidarities in the Global Cold War. Berkley: University of California Press, 2023.
Schlögel, Karl. The Soviet Century: Archaeology of a Lost World. Princeton, NJ: Princeton University Press, 2023.
Schubart, Rikke. Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970 – 2006. Jefferson: McFarland, 2007.
Seckler, Dawn, and Stephen M. Norris. “The Blokbaster: How Russian Cinema Learned to Love Hollywood.” In A Companion to Russian Cinema, edited by Birgit Beumers, 202–23. Oxford: Wiley Blackwell, 2016.
Sezneva, Olga, and Joe Karaganis. “Russia.” In Media Piracy in Emerging Economies, edited by Joe Karaganis, 149–217. New York: Social Science Research Council, 2011.
Sezneva, Olga. “Re-thinking Copyright Through the Copy in Russia,” Journal of Cultural Economy 6, no. 4 (2013): 472–87.
———. “The Pirates of Nevskii Prospekt: Intellectual Property, Piracy and Institutional Diffusion in Russia,” Poetics, no. 40 (2012): 150–66.
Shlapentokh, Vladimir. Soviet Intellectuals and Political Power: The Post Stalin Era. Princeton: Princeton University Press, 1990.
Shohat, Ella, and Robert Stam. “The Cinema After Babel: Language, Difference, Power.” In Taboo Memories, Diasporic Voices, edited by Ella Shohat, 106–38. Durham, NC: Duke University Press, 2002.
Sinitsyn, Fedor. “The Challenges to Social Control in Brezhnev’s Soviet Union, 1964–1982.” RUDN Journal of Russian History 20, no. 1 (2021): 160–73.
Sitkiewicz, Paweł. “Animation: Parallel Worlds,” Ekrany. Special Issue: Socialist Entertainment 56, no. 4 (2020): 42–4.
Sorokina, Yuliya. “From Evolution To Growth: Central Asian Video Art, 1995–2015,” Studies in Russian and Soviet Cinema 10, no. 3 (216): 238–60.
Starosta, Anita. “Perverse Tongues, Postsocialist Translations,” boundary 2 41, no. 1 (2014): 203–27.
Stringer, Julian. “Introduction.” In Movie Blockbusters, edited by Julian Stringer, 1–14. London and New York: Routledge, 2003.
Sundaram, Ravi. Pirate Modernity: Delhi’s Media Urbanism. New York: Routledge, 2010.
Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema. New York and London: Routledge, 1993.
Thorburn, David, and Henry Jenkins. “Introduction.” In Rethinking Media Change: The Aesthetics of Transition, edited by David Thorburn and Henry Jenkins, 1–18. Cambridge, MA: The MIT Press, 2003.
Tremlett, Annabel. “Why Must Roma Minorities be Always Seen on the Stage and Never in the Audience? Children’s Opinions Of Reality Roma TV.” In Popular Television in Eastern Europe During and Since Socialism, edited by Anikó Imre, Kati Lustyik, and Timothy Havens, 241–58. New York and London: Routledge, 2013.
Tverton, Gregory F., et al. Film Piracy, Organized Crime, and Terrorism. Santa Monica: RAND Corporation, 2009.
Varga, Balázs. “Transformations: Hungarian Popular Cinema in the 1950s.” In Popular Cinemas in Central Europe: Film Cultures and Histories, edited by Dorota Ostrowska, Francesco Pitassio, and Varga Zsuzsanna, 85–101. New York: I.B.Tauris, 2017.
Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. New York: Routledge, 2008.
Walker, Johnny. Rewind, Replay: Britain and the Video Boom, 1978–92. Edinburgh: Edinburgh University Press, 2022.
Wasiak, Patryk. “The Video Boom in Socialist Poland,” Zeitschrift Für Ostmitteleuropa-Forschung 61, no. 1 (2012): 27–50.
———. “VCRs, Modernity, and Consumer Culture in Late State Socialist Poland.” In The Socialist Good Life: Desire, Development, and Standards of Living in Eastern Europe, edited by Cristofer Scarboro, ‎Diana Mincyte, ‎and Zsuzsu Gille, 132–61. Bloomington: Indiana University Press, 2020.
Wasser, Frederick. Veni, Vidi, Video: The Hollywood Empire and the VCR. Austin: University of Texas Press, 1997.
West, David. Chasing Dragons: An Introduction to the Martial Arts Film. London: I.B. Tauris, 2006.
Williams, Tony. “The Strange Case of Carlos Ray Norris: Reactionary Masculinity and Its Imaginary Discontents.” In A Companion to the Action Film, edited by James Kendrick, 270–88. Hoboken, NJ: Wiley Blackwell, 2019.
Willis, Andrew. “Locating Bollywood: Notes on the Hindi Blockbuster, 1975 to Present.” In Movie Blockbusters, edited by Julian Stringer, 255–68. London and New York: Routledge, 2003.
Witt, Susanna. “Between the Lines: Totalitarianism and Translation in the USSR.” In Contexts, Subtexts and Pretexts: Literary Translation in Eastern Europe and Russia, edited by Brian James Baer, 149–70. Amsterdam and Philadelphia: John Benjamins Publishing Company, 2011.
———. “Translating Inferno: Mikhail Lozinskii, Dante and the Soviet Myth of the Translator.” In Translation Under Communism, edited by Christopher Rundle, Anne Lange, and Daniele Monticelli, 111–40. Cham: Palgrave Macmillan, 2022.
Yates, JoAnne, and Craig N. Murphy. Engineering Rules: Global Standard Setting Since 1880. Baltimore, MD: Johns Hopkins University Press, 2019.
Yau, Shuk-ting Kinnia. “Interactions Between Japanese and Hong Kong Action Cinemas.” In Hong Kong Connections: Transnational Imagination in Action Cinema, edited by Meaghan Morris, ‎Siu Leung Li, and ‎Stephen Ching-kiu Chan, 35–48. Durham, NC: Duke University Press, 2006.
Yip, Man-Fung. Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation. Hong Kong: Hong Kong University Press, 2017.
Yurchak, Alexei. Everything Was Forever, Until It Was No More. Princeton and Oxford: Princeton University Press, 2006.
Zhuk, Sergei I. “‘The Disco Mafia’ and ‘Komsomol Capitalism’ in Soviet Ukraine during Late Socialism.” In Material Culture in Russia and the USSR: Things, Values, Identities, edited by Graham H. Roberts, 173–95. London and Oxford: Bloomsbury Publishing, 2017.
———. “Détente and Western Cultural Products in Soviet Ukraine during the 1970s.” In Youth and Rock in the Soviet Bloc: Youth Cultures, Music, and the State in Russia and Eastern Europe, edited by William Jay Risch, 117–51. Lanham: Lexington Books, 2014.
———. “Soviet Americanists and American Visual and Media in the USSR during the Brezhnev Era.” In Entangled East and West: Cultural Diplomacy and Artistic Interaction During the Cold War, edited by Simo Mikkonen, Giles Scott-Smith, and Jari Parkkinen, 163–92. Oldenbourg: De Gruyter, 2019.