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Curriculum Vitae CURRICULUM VITAE Denise J. Youngblood Professor of History Emerita University of Vermont CONTACT INFORMATION Address: 1904 Park Hill Dr., Arlington, TX 76012-1924 Telephone: (802) 238-8785 (cell) E-mail: [email protected] PROFESSIONAL EXPERIENCE University of Vermont Professor of History, 1988-2017 (Professor, 1994-2017; Associate Professor, 1994-1999; Assistant Professor, 1988-1994). Vice Provost for Faculty & Academic Affairs, 2003-2005. Chair, Department of History, 1999-2003. Elsewhere Visiting Associate Professor, Middlebury College, 1995; Visiting Assistant Professor, 1992. Assistant to the Executive Director, American Association for the Advancement of Slavic Studies, 1982-88. Slavic Bibliographic Assistant, Stanford University Libraries, 1980-82. Copy Editor, Russian Review, 1980-82. Visiting Instructor, City College of San José, 1980. EDUCATION Ph.D., Stanford University, 1980. M.A., Stanford University, 1975. B.A., magna cum laude, Wright State University, 1974. Also attended: All-Union State Institute of Cinematography (VGIK), Moscow, 1978-79. Vanderbilt University, 1970-72. HONORS & AWARDS (from UVM unless marked with *) Office of Undergraduate Research Award for Outstanding Faculty Mentor, 2017. Robert V. Daniels Award for Outstanding Contributions to International Education, 2013. Dean’s Lecture Award, 2011. *Choice designation of Russian War Films as an “Outstanding Academic Title,” 2007. Phi Beta Kappa, Alpha of Vermont, 2005. University Scholar, University of Vermont, 2002. President’s Leadership Conference, University of Vermont, 1999. *Presidential Fellow, Salzburg Seminar, 1994. Kroepsch-Maurice Award for Excellence in Teaching, University of Vermont, 1993. *Heldt Prize for Best Book by a Woman in Slavic Studies, Association of Women in Slavic Studies, 1993 (co-winner, for Movies for the Masses). RESEARCH SUPPORT (External unless marked with *) *Lattie F. Coor Research Assistanceship, UVM College of Arts & Sciences, 2013. Kennan Institute for Advanced Russian Studies, Woodrow Wilson Center, Short-Term Grant, 2008, 1994. *Professional Development Fund Grant, UVM College of Arts & Sciences, 2008-09. University of Illinois (Urbana-Champaign) Russian & East European Summer Research Laboratory, 2012, 2008, 2004, 1995, 1994, 1993. International Research & Exchanges Board Short-Term Grant, 1995. *UVM University Committee on Research & Scholarship Summer Grant, 1994, 1990. American Council of Learned Societies Grant-in-Aid, 1990. American Council of Learned Societies Travel Grant, 1990. National Endowment for the Humanities Travel to Collections Grant, 1989. National Council for Soviet & East European Research Grant (project principal), 1983-84. International Research & Exchanges Board Fellowship for Dissertation Research in the USSR, 1978-79. PUBLICATIONS Books Bondarchuk’s War and Peace: Literary Classic to Soviet Cinematic Epic. Lawrence: University Press of Kansas, 2014. xi, 175 pp. Cinematic Cold War: The American and Soviet Struggle for Hearts and Minds [with Tony Shaw]. Lawrence: University Press of Kansas, 2010. ix, 301 pp. Russian War Films: On the Cinema Front, 1914-2005. Lawrence: University Press of Kansas, 2007. xvi, 319 pp. [Choice “Outstanding Academic Title”] Repentance: The Film Companion [with Josephine Woll]. KinoFiles, no. 4. London: I. B. Tauris, 2001. xi, 116 pp. The Magic Mirror: Moviemaking in Russia, 1908-1918. Wisconsin Studies in Film. Madison: University of Wisconsin Press, 1999. xvii, 197 pp. Movies for the Masses: Popular Cinema and Soviet Society in the 1920s. Cambridge: Cambridge University Press, 1992; paperback ed., 1993. xix, 259 pp. [Co-winner of the Heldt Prize for Best Book by a Woman in Slavic Studies, 1993] Soviet Cinema in the Silent Era, 1918-1935. Studies in Cinema, no. 35. Ann Arbor: UMI 2 Research Press, 1985; paperback ed., Austin: University of Texas Press, 1991. xi, 336 pp. [Excerpted in Celia Rosebury Lighthill, ed., Cinema Century, vol. 1, The First 50 Years. Dubuque, IA: Kendall/Hunt, 1994.] Peer-Reviewed Articles and Chapters “The Sun (Solntse),” in Rimgaila Salys, ed., Russian Cinema Reader, vol. 3 (Brighton, MA: Academic Studies Press, 2019), 52-72 (in press). “Cold War Sport, Film, Film and Propaganda: A Comparative Analysis of the Superpowers,” with Tony Shaw, in Journal of Cold War Studies 19, no. 1 (Winter 2017): 160-92. “Soldiers, Sailors, and Commissars: The Revolutionary Hero in Soviet Cinema of the 1930s,” in Birgit Beumers ed., A Companion to Russian Cinema (Chichester: Wiley Blackwell, 2016), 391-408. “The Swansong of Early Russian Cinema: Iakov Protazanov’s Father Sergius (1918),” in Lorna Fitzsimmons and Michael A. Denner, eds., Tolstoy on Screen (Evanston, IL: Northwestern University Press, 2015), 23-41. “Fade to Black: The Russian Commercial Film Industry during War and Revolution,” in Murray Frame, Boris Kolonitskii, Steven G. Marks, Melissa K Stockdale, eds., Russia Culture in at War and Revolution, 1914-1922, Book 1: Popular Culture, the Arts, and Institutions (Bloomington, IN: Slavica, 2014), 85-99. “Early Russian Cinema, 1908-1918” (14-31) and “Soviet Silent Cinema, 1918-1930” (66-86) in Rimgaila Salys, ed., Russian Cinema Reader (Brighton, MA: Academic Studies Press, 2013). “Mark Donskoy’s ‘Gorky Trilogy’ and the Stalinist Biopic,” in Robert A. Rosenstone and Constantin Parvelescu, eds., A Companion to the Historical Film (Chichester: Wiley- Blackwell, 2013), 110-32. “A Day in the Life: Historical Representation in Sokurov’s ‘Power’ Tetralogy,” in The Cinema of Alexander Sokurov, eds. Birgit Beumers and Nancy Condee. London: I.B. Tauris, 2011, 122-37. “’When Will the Real Day Come?’ Cinema and Soviet Postwar Culture,” Histories of the Aftermath: The Legacies of the Second World War in Europe, eds. Frank Biess and Robert G. Moeller. New York: Berghahn Books, 2010, 123-38. “Enemy at the Gates as a ‘Soviet’ War Film,” Repicturing the Second World War: Representations in Film and Television, ed. Michael Paris. London: Palgrave MacMillan, 2007, pp. 148-61. “Soviet Cinema: The Old and the New,” European Cinema, ed. Elizabeth Ezra. Oxford: Oxford University Press, 2004, pp. 41-58. "The Cosmopolitan and the Patriot: The Brothers Mikhalkov-Konchalovsky and Russian Cinema," Historical Journal of Film, Radio & Television 23, no. 1 (March 2003): 27-41. “A War Remembered: Soviet Films of the Great Patriotic War," American Historical Review 106, no. 3 (June 2001): 839-856. "A War Forgotten: The Great War in Russian and Soviet Cinema," The First World War and Popular Cinema, ed. Michael Paris. Edinburgh: Edinburgh University Press, 1999/New 3 Brunswick, NJ: Rutgers University Press, 2000, pp. 172-91. "Post-Stalinist Cinema and the Myth of World War II: Tarkovskii's Ivan's Childhood and Klimov's Come and See," World War II, Film, and History, ed. John Whiteclay Chambers II and David Culbert. New York: Oxford University Press, 1996, pp. 85-96. [Revised from Historical Journal of Film, Radio & Television 14, no. 4 (1994): 413-19.] "Andrei Rublev: The Medieval Epic as Post-Utopian History," The Persistence of History: Cinema, Television and the Modern Event, ed. Vivian Sobchack. New York: Routledge, 1996, pp. 127-43. "Repentance: Stalinist Terror and the Realism of Surrealism," Revisioning History: Film and the Construction of a New Past, ed. Robert A. Rosenstone. Princeton, NJ: Princeton University Press, 1995, pp. 139-54. [Reprinted in John Orr and Olga Taxidou, eds., Postwar Cinema and Modernity: A Film Reader (New York: New York University Press, 2001), pp. 426-39.] [Korean translation, Seoul: Sonammo Publishing Union, 2002.] "'We Don't Know What to Laugh at': Comedy and Satire in Soviet Cinema (From The Miracle Worker to St. Jorgen's Feast Day)," in Inside Soviet Film Satire: Laughter with a Lash, ed. Andrew S. Horton. New York: Cambridge University Press, 1993, pp. 36-47. "Cinema as Social Criticism: The Early Films of Fridrikh Ermler," in The Red Screen, ed. Anna Lawton. London: Routledge, 1992, pp. 66-89. "Americanitis: The Amerikanshchina in Soviet Cinema," The Journal of Popular Film and Television 19, no. 4 (Winter 1992), pp. 148-56. "Entertainment or Enlightenment? 'Popular' Cinema in Soviet Society, 1921-1931," in New Directions in Soviet History, ed. Stephen White. Cambridge: Cambridge University Press, 1992, pp. 41-61. "'History' on Film: The Historical Melodrama in Early Soviet Cinema," Historical Journal of Film, Radio & Television 11, no. 2 (June 1991): 173-84. "The Return of the Native: Yakov Protazanov and Soviet Cinema," in Inside the Film Factory, eds. Richard Taylor and Ian Christie. London: Routledge, 1991, pp. 103-23. Excerpted in Protazanov and the Continuity of Russian Cinema, eds. Ian Christie and Julian Graffy. London: British Film Institute/National Film Theatre, 1993. "The Fate of Soviet Popular Cinema during the Stalin Revolution," The Russian Review 50, no. 2 (April 1991): 148-62. "The Fiction Film as a Source for Soviet Social History: The Third Meshchanskaia Street Affair," Film & History 19, no. 3 (September 1989): 50-60. Commissioned Scholarly Articles and Chapters “The Soviet Documentary and Cold War Propaganda,” for Adam Matthew Digital’s “Socialism on Film” (in collaboration with the British Film Institute), 2017. “Russisches Kino vor und wahrend der Revolution,” Religion & Gesellschaft in Ost und West, nos. 4-5 (2017), 42-43. “Women in Wartime Films,” in “1943,” Seventeen Moments of Soviet History, www.soviethistory.org. "The Russians at the Movies," in Reemerging Russia: Search for Identity, ed. Max J.
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