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Home , Cinema of Russia, Esfir Shub, Mark Donskoy, NewsNet, Yakov Protazanov

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- Institute of Cinematography (VGIK), , 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 : 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 , 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 ,” 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 (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 , 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 , eds. Frank Biess and Robert G. Moeller. New York: Berghahn Books, 2010, 123-38. “Enemy at the Gates as a ‘Soviet’ ,” 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: 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 at the Movies," in Reemerging Russia: Search for Identity, ed. Max J. Okenfuss

4 and Cheryl D. Roberts (St. Louis, MO: The Oasis Institute, 1995), 21-42.

Reference & Pedagogy “Dzigan, Efim” and “Ermler, Fridrikh,” in Supplement to the Modern Encyclopedia of Russia, Soviet & Eurasian History, vol. 9, ed. Bruce F. Adams. Gulfstream, FL: Academic International Press, 2008. “Donskoi, Mark,” in Supplement to the Modern Encyclopedia of Russia, Soviet & Eurasian History, vol. 8, ed. Bruce F. Adams. Gulfstream, FL: Academic International Press, 2007. “Chukhrai, Grigorii,” in Supplement to the Modern Encyclopedia of Russian, Soviet & Eurasian History, vol. 6, ed. Bruce F. Adams. Gulfstream, FL: Academic International Press, 2005. "Russia," "Drankov, Aleksandr" "Drankov," "Gardin, Aleksandr" "Goncharov, Vasilii" "Khanzhonkov, Aleksandr" "Kholodnaia, Vera" "Thiemann, Pavel," "Thiemann & Reinhardt," in Encyclopedia of Early Cinema, ed. Richard Abel. London: Routledge, 2005. Winner of the Theatre Library Association Prize for Best Book on Recorded Performance. “Motion Pictures,” “Grigory Alexandrov,” “Vasily Chapayev,” “Lev Kuleshov,” “Liubov Orlova,” “Yakov Protazanov,” in Encyclopedia of Russian History, ed. James R. Millar. New York: MacMillan, 2004. “,” in Supplement to the Modern Encyclopedia of Russian, Soviet & Eurasian History, vol. 5, ed. Bruce F. Adams. Gulfstream, FL: Academic International Press, 2004. “Batalov, Nikolai” “,” in Supplement to the Modern Encyclopedia of Russian, Soviet, and Eurasian History, vol. 4, ed. Bruce F. Adams. Gulfstream, FL: Academic International Press, 2003. “Bed and Sofa" and "Repentance" in International Dictionary of Films and Filmmakers, 4th ed., eds. Tom Pendergast and Sara Pendergast. : St. James Press, 2000. "Teaching Russian and Soviet History with Film," AAASS NewsNet 39, no. 4 (September 1999): 15-17. "Film Research in Moscow, April 1995," Historical Journal of Film, Radio & Television 15, no. 4 (October 1995): 563-68. "" (with Maria Enzenberger), "Dinara Asanova," "Lana Gogoberidze," "Olga Preobrazhenskaia," "Larisa Shepitko," and "Esfir Shub," in Women in Film: An International Guide, eds. Annette Kuhn and Susannah Radstone. London: Virago and New York: Fawcett, 1990. Rpt. Berkeley: University of California Press, 1994. "Teaching Soviet History through Film," AAASS Newsletter 33, no. 2 (March 1993): 6. "Slavic and East European Research Materials at the University of California: The Pacific Film Archive." Reference & Selection , no. 9 (July 1, 1982), pp. 1-2 (with J.T. Heil).

5 Book Reviews Rachel Morley, Performing Femininity: Woman as Performer in Early Russian Cinema, Women East-West, forthcoming 2019. Marat Grinberg, Alexander Askoldov: The Commissar, Studies in Russian and Soviet Cinema 11, no. 3 (November 2017): 253-54. Alexander Burry and Frederick H. White, eds. Border Crossing: into Film, Russian Review 76, no. 1 (January 2017): 154-55. Margaret Peacock, Innocent Weapons: The Soviet and American Politics of Childhood, American Communist History 15, no. 3 (2016): 353-56. Marina L. Levitina, ‘Russian Americans’ in Soviet Film: Cinematic Dialogues between the US and the USSR, Slavic Review 75, no. 4 (Winter 2016): 1056-58. Lilya Kaganovsky and Masha Salazkina, eds. Sound, Speech, Music in Soviet and Post-Soviet Cinema, Slavic Review 74, no. 2 (Summer 2015): 424-25. Jeremi Szaniawski, The Cinema of Alexander Sokurov: Figures of Paradox, Russian Review 73, no. 4 (October 2014): 632-33. Diane P. Koenker, Club Red: Vacation Travel and the Soviet Dream, American Historical Review 119, no. 3 (June 2014): 1013-14. Jeremy Hicks, First Films of : Soviet Cinema and the Genocide of the Jews, 1938- 1946, Slavic Review 72, no. 4 (Winter 2013): 915-16. Karel C. Berkhoff, Motherland in Danger: Soviet Propaganda during World War II, Slavic Review 72, no. 2 (Summer 2013): 421-22. Jamie Miller, Soviet Cinema: Politics and Persuasion under Stalin, Journal of Cold War Studies 15, no. 2 (Spring 2013): 161-63. Derek C. Maus, Unvarnishing Reality: Subversive Russian and American Cold War Satire, Slavic Review 71, no. 3 (Fall 2012): 716-17. Kristin Roth-Ey, Moscow Prime Time: How the Soviet Union Built the Media Empire That Lost the Cultural Cold War, Historical Journal of film, Radio & Television 32, no. 3 (September 2012): 496-98. Cristina Vatulescu, Police Aesthetics: Literature, Film, and the Secret Police in Soviet Times, Clio 41, no. 2 (Spring 2012): 280-84. Solomon Volkov, Romanov Riches: Russian Writers and Artists under the Tsars, The Historian 74, no. 2 (2012): 424-25. Louis Menashe, Moscow Believes in Tears: Russians and Their Movies, Film & History 42, no.1 (Spring 2012): 55-57. A. Ross Johnson and R. Eugene Parta, Cold War Broadcasting: Impact on the Soviet Union and Eastern Europe: A Collection of Studies and Documents, Slavic Review 70, no. 3 (Fall 2011): 670-71. Rimgaila Salys, The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters, Slavic Review 69, no. 4 (Winter 2010): 1035-36. Mike O’Mahony, , Film & History 40, no. 1 (Spring 2010): 96-98. Nancy Condee, The Imperial Trace: Recent Russian Cinema, featured review, Slavic Review 69, no. 1 (Spring 2010): 193-96. Evgeny Dobrenko, Stalinist Cinema and the Production of History, Slavic Review 68, no. 3 (Fall

6 2009): 717-18. Stephen M. Norris and Zara M. Torlone, Insiders and Outsiders in Russian Cinema, Russian Review 68, no. 2 (April 2009): 330-31. James Chapman, War and Film, Film & History 39, no. 1 (Spring 2009): 88-89. Birgit Beumers, The and the Former Soviet Union, Slavic Review 67, no. 3 (Fall 2008): 788-89. Amy Nelson, Music for the Revolution: Musicians and Power in Early Soviet Russia, European History Quarterly 38, no. 2 (2008): 343-44. Emma Widdis, Alexander Medvedkin, Slavic Review 66, no. 2 (Summer 2007): 369-70. Sergei Eisenstein, The Eisenstein Collection, ed. Richard Taylor, Historical Journal of Film, Radio & Television 26, no. 4 (October 2006): 599-600. David MacFadyen, Yellow Crocodiles and Blue Oranges: Russian Animated Film since World War Two, H-Russia, 18 September 2006 (on-line). Kristian Feigelson, ed. Théorème 8: Caméra politique: cinema et stalinisme, Historical Journal of Film, Radio & Television 26, no. 3 (August 2006): 432-33. Anna Lawton, Imaging Russia 2000: Film and Facts, Rethinking History 10, no. 2 (June 2006): 373-76. John Haynes, New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema, Russian Review 64, no. 1 (January 2005): 157-58. Louise McReynolds, Russia at Play: Leisure Activities at the End of the Tsarist Era, American Historical Review 109, no. 3 (June 2004): 1004-05. Oksana Bulgakowa, Sergei Eisenstein: A Biography, Slavonic & East European Review 81, no. 3 (2003): 550-51. Tetsuo Mochizuki, ed., Russkaia kul’tura na poroge novogo veka, Slavic Review 62, no. 3 (Fall 2003): 637-38. Lynn Mally, Revolutionary Acts: Amateur Theater and the Soviet State, 1917-1938, Canadian- American Slavic Studies 37, nos. 1/2 (Spring/Summer 2003): Amy Sargeant, : Classic Films of the Russian Avant-Garde, Historical Journal of Film, Radio & Television 22, no. 4 (October 2002): 544-45. Reina Pennington, Wings, Women & War: Soviet Airwomen in World War II Combat, Journal of Military History 66, no. 3 (July 2002): 889-91. Julie A. Cassiday, The Enemy on Trial: Soviet Courts on Stage and Screen, Russian History 29, no. 1 (Spring 2002): 127-28. Natalie Zemon Davis, Slaves on Screen: Film and Historical Vision, Rethinking History 6, no. 1 (2002): 116-19. Karen Petrone, Life Has Become More Joyous, Comrades: Celebrations in the Time of Stalin, American Historical Review 107, no. 1 (February 2002): 311-12. Aviel Roshwald and Richard Stites, eds., European Culture in the Great War: The Arts, Entertainment, and Propaganda, 1914-1918, The Historian 64, no. 1 (Fall 2001): 198-99. William B. Husband, ed. The Human Tradition in Russia, Slavic Review 60, no. 3 (Fall 2001): 648-49. George Faraday, Revolt of the Filmmakers: The Struggle for Artistic Autonomy and the Fall of the Russian Film Industry, Russian Review 60, no. 2 (April 2001): 281-82.

7 Greg Dening, Performances, Rethinking History 2, no. 1 (Spring 1998): 123-24. Hubertus F. Jahn, Patriotic Culture in Russia during , American Historical Review 102, no. 3 (June 1997): 853-54. Richard Taylor and Derek Spring, eds., Stalinism and Soviet Cinema, Canadian-American Slavic Studies 30, nos. 2-4 (1996): 423-24. Yuri Tsivian, Early Cinema in Russia and Its Cultural Reception; Sumiko Higashi, Cecil B. DeMille and American Culture: The Silent Era; Gregory A. Waller, Main Street Amusements: Movies and Commercial Entertainment in a Southern City, 1896-1930, Historical Journal of Film, Radio & Television 16, no. 2 (June 1996): 275-77. Anne Noggle, comp., A Dance with Death: Soviet Airwomen in World War II, Journal of Military History 60, no. 1 (January 1996): 179-81. Andrey Tarkovsky, Time within Time: The Diaries, 1970-86, Slavic Review 54, no. 3 (Fall 1995): 749. Dmitry Shlapentokh and Vladimir Shlapentokh, Soviet Cinematography, 1918-1991: Ideological Conflict and Social Reality, Slavic Review 53, no. 4 (Winter 1994): 1173-74. Richard Abel, The Ciné Goes to Town: French Cinema, 1896-1914, Historical Journal of Film, Radio & Television 14, no. 4 (1994): 481. David Bordwell, The Cinema of Eisenstein, Slavic & East European Journal 38, no. 3 (Fall 1994): 531-32. Ian Christie and Richard Taylor, eds., Eisenstein Rediscovered, Historical Journal of Film, Radio & Television 14, no. 2 (1994): 231. Lynne Attwood, ed. Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era, Slavic Review 53, no. 1 (Spring 1994): 298- 99. Laurence Senelick, ed. Wandering Stars: Russian Emigré Theatre, 1905-1940, Russian Review 53, no. 1 (January 1994): 123. James Goodwin, Eisenstein, Cinema, and History, Slavic Review 52, no. 4 (Winter 1993): 863- 64. Peter Kenez, Cinema and Soviet Society, 1917-1953, Russian History/Histoire russe (1993): 360-61. Soviet War Posters c. 1940-1945: The Tass Poster Series from the Hallward Library, University of Nottingham, Historical Journal of Film, Radio & Television 13, no. 3 (1993): 369-70. S.M. Eisenstein, Selected Works, vol. 2, Towards a Theory of Montage, eds. Michael Glenny and Richard Taylor, Historical Journal of Film, Radio & Television 13, no. 2 (1993): 243-44. Hans Günther, ed., The Culture of the Stalin Period, Canadian-American Slavic Studies 27, nos. 1/4 (1993): 408-409. John W. Strong, ed., Essays on Revolutionary Culture and Stalinism, Russian Review 51, no. 1 (January 1992): 132-33. Daniel J. Goulding, ed., Post New Wave Cinema in the Soviet Union and Eastern Europe, Slavic Review 50, no. 2 (Summer 1991): 469-70. Yuri Tsivian et al., eds., Silent Witnesses: Russian Films, 1908-1919, Historical Journal of Film, Radio & Television 11, no. 2 (June 1991): 192-93. Terry Thompson and Richard Sheldon, eds. Soviet Society and Culture, Canadian-American

8 Slavic Studies 24, no. 4 (Winter 1990): 490-91. Judith Mayne, Kino and the Woman Question, Russian History/Histoire russe 17, no. 1 (Spring 1990): 123-25. Vlada Petrić, in Film, Russian Review 48, no. 4 (October 1989): 446-47. Richard Taylor and Ian Christie, eds., The Film Factory, and Joseph Zsuffa, Béla Balázs, Slavic and East European Journal 33, no. 2 (Summer 1989): 314-16. Stephen White, The Bolshevik Poster, Russian History/Histoire russe 16, no. 1 (Spring 1989): 151-52. N.M. Lary, Dostoevsky and Soviet Film, Canadian-American Slavic Studies 22, no. 4 (Winter 1988): 484-86. Vance Kepley, Jr., In the Service of the State, and Jacques Aumont, Montage Eisenstein, Soviet Union/Union Soviètique 14, no. 2 (Summer 1987): 239-40. Nils Åke Nilsson, ed., Art, Society, Revolution: Russia, 1917-1921, Russian Review 40, no. 2 (April 1981): 196-97. Richard Taylor, The Politics of the Soviet Cinema, 1917-1929, and Film Propaganda: Soviet Russia and Nazi , Russian Review 39, no. 2 (April 1980): 272-73.

Film Reviews “Konstantin Khabenskii: Sobibor (2018),” KinoKultura 62 (October 2018), www.kinokultura.com. “Andrei Kravchuk: The Viking (2016),” KinoKultura 57 (July 2017), www.kinokultura.com/2017/57. “Sergei Popov: The Road to Berlin (Doroga na Berlin, 2015), KinoKultura 50 (October 2015), http://www.kinokultura.com/2015/50/50r-doroga-berlin.shtml. “We Draw Fire on Ourselves,” Directory of : Russia, vol. 2, ed. Birgit Beumers, 218-19. Bristol: Intellect, 2015. Section Editor and Introduction, “Cold War Spy Films,” Directory of World Cinema: Russia, vol. 2, ed. Birgit Beumers, 240-65. Bristol: Intellect, 2015. “Eva Neiman: The House with a Turret (Dom s bashenskoi, 2012),” KinoKulturano. 40 (April 2013), http://www.kinokultura.com/2013/40r-domsbashenskoi.shtml. “Sergei Loznitsa: In the Fog (V tumane, 2012),” KinoKultura, no. 39 (January 2013), http://www.kinokultura.com/2013/39r-vtumane.shtml. “The Admiral,” Revolutionary Russia 25, no. 2 (2012): 219-20. [Revision of KinoKultura review, below] “Apocalyptic Visions of the Great Patriotic War: Elem Klimov’s Come and See,” Perspectives on History 50, no. 3 (March 2012): 23-24. [cover article] “Chapaev,” “Pokaianie,” “Vesna na Zarechnoi ulitse,” “Oblomok imperii,” “Okraina,” in Ekaterina Vasileva and Nikita Braginskii, eds., Noev kovcheg: Ot “Sten’ki Razina” do “Stiliag,” Vinnytsia (): Globus-Press, 2012. [in Russian] “Stenka Razin” and “St. Jorgen’s Feast Day,” Directory of World Cinema: Russia, ed. Birgit Beumers. Bristol: Intellect, 2011. Section Editor and Introduction, “War Films,” Directory of World Cinema: Russia, ed. Birgit Beumers. Bristol: Intellect, 2011.

9 Vera Glagoleva: One War (Odna voina, 2009). KinoKultura 30 (October 2010), www.kinokultura.com/2010/issue30.shtml. “My Grandmother,” The Moving Image 10, no. 1 (Spring 2010): 157-59. “Svetlana about Svetlana,” Russian Review 69, no 1 (January 2010): 150-51. Guest Editor, “Real Images: In Memory of Josephine Woll,” Studies in Russian & Soviet Cinema 3, no.1 (2009): 71-90; review of Nine Days in One Year, 80-81. “Andrei Kravchuk: The Admiral (2008),” KinoKultura 23 (April 2009) www.kinokultura.com/2009/. “Petr Todorovskii: Riorita (2008),” KinoKultura 23 (January 2009), www.kinokultura.com/2009/23-r-riorita.shtml. “The Living and the Dead,” Studies in Russian and Soviet Cinema 2.3 (2008): “A Chronicle for Our Time: Sergei Loznitsa’s The Blockade (2006),” Russian Review 66 (October 2007): 693-98 (review essay). “Mikhail Segal, Franz + Polina, 2006,” KinoKultura 16 (April 2007), www.kinokultura.com/2007/16r-franzpolina.html. “Vasilii Chiginskii, First after God (Pervyi posle boga), 2005,” KinoKultura 14 (October 2006), www.kinokultura.com/2006/14r-ppboga.html. “Aleksei Karelin, A Time to Gather Stones (Vremia sobirat’ kamni), 2005,” KinoKultura 12 (April 2006), www.kinokultura.com/2006/12r-timestones.html. "Aelita: Queen of Mars, The Cigarette Girl from Mosselprom, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, The Girl with the Hatbox," Russian Review 52, no. 1 (January 1993): 94-95. "The ," Russian Review 51, no. 1 (January 1992): 107-109. "Repentance," American Historical Review 95, no. 4 (October 1990): 1133-36. "," "The Fall of the Romanov Dynasty," and "The End of St. Petersburg," program notes for the Russian Constructivist Film Festival, Louisville, 1989. "The Glass Eye," program note for the 4th Annual “On Screen” International Film Festival, , 1988.

Article Review Marko Dumancic, “The Cold War’s Cultural Ecosystem: Angry Young Men in British and Soviet Cinema, 1953-1968,” in H-Diplo Article Reviews (31 October 2014), http://h- diplo.org/reviews/PDF/AR494.pdf.

CD-Rom Review Yuri Tsivian, Immaterial Bodies: A Cultural Analysis of Early Russian Films, Slavic Review 64, no. 3 (Fall 2005): 691-92.

Round Table Review “The Cold War in Film,” H-Diplo Roundtable Review 9, no. 40 (17 September 2010): 15- 21. www.h-net.org/~diplo/roundtables.

10

Translation (Trans. & ed.) Victor Belyakov, "Russia's Last Tsar: Nicholas II and Cinema," Historical Journal of Film, Radio & Television 15, no. 4 (October 1995): 517-24.

Interviews “The Soviet War Film,” for Movie Talk, BBC World, aired summer 2017. "Untangling the Balkans," Vermont Quarterly (Summer 1999), pp. 14-15, 64.

Professional Tributes and Obituaries “Dorothy Atkinson (1929-2016),” Slavic Review 76, no. 2 (Summer 2017): 586-87 (expanded from the version that appeared online in ASEEES NewsNet [March 2017]). “Robert V. Daniels, 1926-2010,” Slavic Review 70, no. 1 (Spring 2011): 539-40. [revision of essay below]. “In Memoriam: Robert V. Daniels,” Perspectives on History 48, no. 8 (November 2010): 51-52. “Josephine Woll, 1950-2008,” Studies in Russian & Soviet Cinema 2, no. 2 (2008): 135-39. “The Master of the Movies: A Tribute to Frank Manchel,” Film & History 36, no. 2 (October 2006): 21-24.

Conference Reports & Miscellany “To Vice Alley and Back: An Administrator’s Tale,” Women East-West, no. 91 (Summer 2007), 4-5. "Narrating Histories: A Workshop," IAMHIST Newsletter (Summer 1994): 7-8. "War, Film, and History," IAMHIST Newsletter (Winter 1993/Spring 1994): 6-7. "Union Blues: Soon to Be a Major Motion Picture," Alternatives Newletter 1, no. 2 (1991), pp. 6-7.

NATIONAL & INTERNATIONAL PRESENTATIONS & CONFERENCE PARTICIPATION “Out with the Old, in with the New? Russian Cinema in Revolution, 1917-1918,” invited lecture, College of William & Mary, 2018. “The New Soviet Woman in the Wartime War Films,” paper presented on the panel “Women’s Experience of War on the Soviet and Post-Soviet Screens,” Annual Conference of the American Association of Teachers of Slavic and East European Languages,” 2017. “The Cinema of the Cold War: Facts and Fictions,” discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2015. “Hollywood’s Insidious Charms: The Impact of American Cinema and Television on the Soviet Bloc,” chair, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2015.

11 “Cold War Sport at the Cinema,” with Tony Shaw, invited paper presented at “Spanning and Spinning the Globe: History of Sport in the Cold War, co-sponsored by the German Historical Institute-Moskau and the Wilson Center, Moscow, 2015. “She Defends the Motherland—or Does She? The Heroine in Soviet Wartime War Films (1941- 1945),” paper delivered at “La propagande de guerre soviétique à l’écran, 1939-1946,” Toulouse, , 2015. “Color and Lighting in Soviet Cinema of the 1930s and 1940s,” discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2014. “The Cold War and Détente Legacies: Soviet Views of America in Historical Perspective,” chair, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2014. “A Weapon in the Cold War: Bondarchuk’s War and Peace as Cold War Artifact,” paper presented at “The Cold War on Film: Then and Now,” co-sponsored by the German Historical Institute-Moskau and the University of Hertfordshire, Moscow, 2014. “Pop Culture Revolutions in Soviet Society after Stalin,” chair and discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2013. “Negotiating Cinema: Transnational Directors and Themes in USSR/Russia and the USA,” discussant, National Conventional of the Association for Slavic, East European, and Eurasian Studies, 2013. “Soviet War Films, 1945-1991,” invited paper presented at the University of Kentucky “Russia’s Realms” Symposium, 2013. “Soviet Spy Films: Genre Boundaries and the Borders of Permissible,” discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2012. “Made in the USA: America on the Borders of Socialist Imagination,” chair and discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2012. “Soviet Youth and Authorities,” chair, National Convention of the Association for Slavic, East European and Eurasian Studies, 2011. “Authority of Knowledge: Soviet Studies in America and American Studies in Russia and Ukraine,” chair, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2011. “Fade to Black: The Russian Film Industry in War and Revolution,” paper presented at the Clemson University conference on “ during the First World War and Revolution,” 2011. “,” invited introduction to the film for the Initiative for Russian Culture Film Festival, co-sponsored by American University and the Embassy of the Russian Federation, 2011. “Collective Amnesia? The Soviet Union and Holocaust Memory,” paper presented at the University of Augsburg/University of Vermont conference on “The Holocaust in Global Perspective,” Augsburg, Germany, 2011. “The Great Patriotic War and the Politics of Memory in Soviet Cinema,” discussant, National Convention of the Association for Slavic, East European, and Eurasian Studies, 2010. “Fascism, the Legacy of World War II, and Youth Culture in the Soviet Block,” discussant,

12 National Convention of the Association for Slavic, East European, and Eurasian Studies, 2010. “Last Stands: Soviet Cinema in the Late Cold War,” paper presented at the University of Texas- Austin conference on “Cold War Cultures,” 2010. “When Will the Real Day Come? Soviet War Films and Postwar Culture,” invited paper presented at the Harvard University workshop on “Analyzing Film Propaganda from the Great Patriotic War,” 2010. “Framing and Reframing Komsomol Lives,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2009. “Vozhd and Screen,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2009. “German and Soviet World War II Film Propaganda,” invited paper presented at the University of Richmond, 2009. “When the Pen Was a Sword: Film Criticism and Its Impact on Early Soviet Cinema,” invited paper presented at the University of , 2009. “The Intersections of and Ukrainian Poetic Cinema,” discussant, National Conventional of the American Association for the Advancement of Slavic Studies, 2008. “The Workers’ Paradise Revisited: Spring on Zarechnaia Street and the Cold War,” National Convention of the American Association for the Advancement of Slavic Studies, 2008 (adapted from paper below). “Paradise Compared: American and Soviet Film Propaganda during the Cold War,” (with Tony Shaw), Divided Dreamworlds: Culture during the Cold War,University of Utrecht, 2008. “Incident at Map Grid 36-80,” invited paper presented at the Harriman Institute seminar, Columbia University, 2008. “Early Russian Cinema,” invited paper presented at the NEH Faculty Research Seminar on “Russian and Soviet Visual Cultures, 1860-1935,” New York Public Library, 2008. “From Ally to Enemy: Soviet and American Film Propaganda during the Early Cold War,” with Tony Shaw, paper presented at the conference Justifying War: Propaganda, Politics, and War in the Modern Age, University of Kent, UK, 2008. “The Culture of Absence: Soviet Cinema and the Holocaust,” invited paper presented at the Reel to Real: Film and World War II international conference, National World War II Museum, 2008. “The Most Important of the Arts: Russian Cinema and Its Global Impact,” Focus on Russia Symposium, Louisiana Technical University. “Cinema and the Emergence of Modern Ukrainian Identity,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2007. “Women Navigating Academia,” roundtable participant, National Convention of the American Association for the Advancement of Slavic Studies, 2007. “Soviet Cold War Films and the Rationale for Empire, 1948-53,” 2 paper presented at the 2nd Biennial Conference, International Association for Media & History, Amsterdam, 2007. “When Will the Real Day Come? War Films and Soviet ‘Postwar’ Culture,” Histories of the Aftermath Conference, University of California, San Diego, 2007 (unable to attend due to the “Valentine’s Day Blizzard,” paper posted and discussed).

13 “The Aesthetics of Excess: The Films of Evgenii Bauer,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2006. “The Chillier Climate for Women in Academe,” roundtable presentation, Annual Meeting of the American Historical Association, 2006. “Cultures of Everyday Life in the Postwar Soviet Union,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2005. “ in Color: Russian Films on the Chechen Wars,” paper presented at the 21st Biennial Conference, International Association of Media & History, 2005. “DVD as the Medium of Annotated Film Editions,” invited discussant, plenary session, 21st Biennial Conference, International Association of Media & History, 2005. “War in Russia,” invited paper presented to the Rhodes College Russian Club, 2005. “She Defends the Motherland”: Women as Combatants in Soviet World War II Films,” paper presented at the 3rd Biennial Conference, Film & History League, 2004. “Keywords: Ideologies and Practices of Criticism in Socialist Czechoslovakia,” discussant, National Convention of the American Association for the Advancement of Slavic Studies, 2004. “The Cinema Front: Russian Films of the Great Patriotic War,” paper presented at the Havighurst Center Seminar Series, University (OH), 2004. “Plagiarism in the Classroom,” chair, Annual Meeting of the American Historical Association, 2004. “The Extraordinary Mr. Barnet: The Films of ,” invited roundtable participant, BAMcinématek (NY), 2003. "The Memory of Nazism in Postwar Popular Culture," chair, Annual Meeting of the American Historical Association, 2001. "Revisioning the Enemy: Russians in Hollywood Action-Adventure Films, 1995-2000," International Symposium on "Reimaging the Political Other," Eberhard Karls Universität, Tübingen, Germany, 2000. "Multimedia in the Classroom: Faculty Viewpoints," roundtable participant, Consortium of College and University Media Centers Annual Conference, 1999. "German Film as History: Society, Ideology & Culture," comment, Annual Meeting of the American Historical Association, 1998. "Is Film History 'History'? A Historian Reflects on Method in Russian and American Film Studies," paper presented at the Symposium on American and Russian Film: A Post- Cold War Perspective, UCLA Film & Television Archive, 1996. "National and Transnational Values in Soviet and Post-Soviet Cinema," invited paper presented at the Symposium on Cinema, Culture, and Nationalism in Azerbaijan, Kennan Institute for Advanced Russian Studies, 1995. "Border Crossings: Transnationalism in Russian and East European Cinema," keynote address, University of Iowa Symposium on Contemporary Russian and East European Cinema, 1995. "Historians Make Films," chair and comment, National Convention of the American Association for the Advancement of Slavic Studies, 1994. "Music in Stalinist Cinema," comment, National Convention of the American Association for the

14 Advancement of Slavic Studies, 1994. "Commercial Considerations in Early Russian Cinema," invited paper presented at the Russian and East European Summer Research Laboratory lecture series, University of Illinois, 1994. "Do Films Matter?" nominated participant, Salzburg Seminar, Salzburg, Austria, 1994. "Chasing Demons," Narrative Strategies Workshop at the California Institute of Technology, 1994 "Post-Stalinist Soviet Cinema and the Myth of World War II," Rutgers University Center for Historical Analysis conference on "War, Film & History," 1993. "Popular Culture in the Silver Age: Three Films by Evgenii Bauer," invited paper presented to the Russian and East European Summer Research Laboratory lecture series, University of Illinois, 1993. "The Last--and Most Important--of the Arts," for Critical Issues Panel on "Literature and Culture after Glasnost," 24th National Convention of the American Association for the Advancement of Slavic Studies, 1992. "'Americanitis': The Amerikanshchina in Soviet Cinema," invited paper presented at University of Cincinnati, 1992; Portland State University, Oregon, 1991; University of Vermont Humanities Symposium and International Conference on "US/USSR: Comparative Cultures," 1990. "Unshelved Films in the USSR and Eastern Europe," chair, 23rd National Convention of the American Association for the Advancement of Slavic Studies, 1991. "Women Directors and the 'Woman's Film' in the USSR," chair, 23rd National Convention of the American Association for the Advancement of Slavic Studies, 1991. "Reality and Realism: Soviet and American Cinema in the 1930s," invited discussant, U.S.- Soviet conference co-sponsored by the IREX-Goskino Cinema Commission and the Library of Congress, Washington, DC, 1990. "'We Don't Know What to Laugh at': Satire and Comedy in Soviet Cinema (From The Miracle Worker to St. Jorgen's Feast Day)," Loyola University, New Orleans Soviet Film Satire Conference, 1990. "'History' on Film: The Historical Melodrama in Early Soviet Cinema," InterUniversity History Film Consortium Conference on "Soviet Cinema: Continuity and Change," London, 1990. "Entertainment or Enlightenment? 'Popular' Cinema and Soviet Society, 1921- 1931," IV World Congress for Soviet and East European Studies, Harrogate, 1990. "The Fate of Soviet Popular Cinema during the First Five Year Plan," Annual Meeting of the American Historical Association, 1989. "Soviet Cinema Today," invited participant, U.S.-Soviet conference co-sponsored by John Carroll University and the Cleveland Cinemathèque, 1989. "Aelita," "The Fall of the Romanov Dynasty," and "The End of St. Petersburg," invited introductions for the Russian Constructivist Film Festival, Louisville, 1989. "The Fiction Film as a Source for Soviet Social History," 13th International Congress of the International Association for Audio-Visual Media in Historical Research & Education, Frostburg, MD, 1989. "The Silent Woman Speaks," invited panel chair, 4th Annual On Screen International Film

15 Festival, San Francisco, 1988. "Social Criticism in Cinema: Fridrikh Ermler and His Early Films," paper presented at the Kennan Institute for Advanced Russian Studies Conference on Soviet Cinema, Washington, DC, 1986. "The Politics of the 1978-79 Film Season," invited briefing for U.S. Embassy staff, Moscow, 1979.

NATIONAL & INTERNATIONAL PROFESSIONAL SERVICE Honors & Awards Committee, Association for Slavic, East European, and Eurasian Studies, 2015-17 (Chair, 2017). PhD Dissertation Supervisor, Salome Tsopurashvili, Tbilisi State University, Republic of Georgia, 2013-2017. (Dr. Tsopurashvili has successfully defended her dissertation.) Film consultant: Adam Matthew Digital/British Film Institute, “Socialism on Film: The Cold War,” 2015-17; WETA-TV (Washington), 1994; Vermont ETV, 1990; Joint Committee on Eastern Europe (ACLS/SSRC), 1990; American Committee on U.S.-Soviet Relations, 1990; ACLS-Goskino Commission, 1990; American Film Institute, 1989; Stanford University Libraries, 1986; WGBH-TV (Boston), 1986. Editorial Boards: Intellect Books, KinoSputnik series, 2016-present; I.B. Tauris, KINO: The Russian Film Series, 2009-present; Studies in Russian & Soviet Cinema, 2006-08, 2014- present; New Academia Publishing, 2004-present; Historical Journal of Film, Radio & Television, 2006-2017; Russian Life, 2002-2017. Book manuscript referee: I.B. Tauris, 2018, 2017, 2016 (two mss.), 2013; New Academia Publishing, 2016, 2007, 2006; Hackett Publishing, 2015; Columbia University Press, 2015; Northern Illinois University Press, 2014; University of Pittsburgh Press, 2013; Palgrave Macmillan, 2012; Columbia University Press, 2012, 2000; Indiana University Press, 2011, 2010, 1992, 1991; Oxford University Press, 2009, 1996; Berg, 2007; Palgrave/MacMillan, 2007; Northern Illinois University Press, 2007; Northwestern University Press, 2007; Stanford University Press, 2001; Greenwood Publishing Group, 1999; Harvard University Press, 1994; Cambridge University Press, 1992; University of California Press, 1991; Princeton University Press, 1990. Journal manuscript referee: AJS Review, 2018, 2017; Screen, 2018; Projections, 2018; Studies in Russian & Soviet Cinema, 2018 (6 mss.), 2016 (4 mss.), 2015 (2 mss.), 2014, 2012, 2011, 2010 (2 mss.), 2009 (3 mss.), 2008 (2 mss.), 2006; Cogent Arts & Humanities, 2018, 2014; Revolutionary Russia, 2017; Journal of Cold War Studies, 2017, 2014, 2012; Historical Journal of Film, Radio & Television, 2017, 1998, 1997 (2 mss.), 1996, 1995, 1994; Contemporary Politics, 2015; Slavic & East European Journal, 2015, 2007, 2006, 1993; Slavic Review, 2015, 2003; Region, 2012; Journal of Musicology, 2012; Film History, 2012; Aspasia, 2012; Syllabus, 2012; Carl Beck Papers, 2011; Russian Review, 2010, 2006, 2002, 1998, 1997, 1995, 1992, 1991 (2 mss.); Cinema Journal, 2009; Journal of Film Music, 2009; History and Memory, 2008; Canadian-American Slavic Studies, 2005; Russian Life, 2003; Kino, 2003 (two mss.); Rethinking History, 2002, 1998; Slavonic & East European Review, 2000, 1998 (2 mss.), 1997, 1993 (2 mss.), 1990,

16 1987; Film & History, 1994, 1989; Cinema Journal, 1992. Book proposal referee: Bloomsbury, 2018; I.B. Tauris, 2018, 2017 (2 mss.), 2013, 2011, 2010, 2009 (2 mss.); Wiley-Blackwell, 2013, 2011; Routledge, 2010; New Academia Publishing, 2009; Academic International Press, 2007; Palgrave/MacMillan, 2006; Temple University Press, 1994; Indiana University Press, 1990; Harvard University Press, 1990; Cambridge University Press, 1988. Grant proposal referee: American Councils Title VIII Research Programs, 2018; National Endowment for the Humanities Summer Stipends, 2017; National Humanities Center, 2015; Social Science & Humanities Research Council of Canada, 2014, 2007; Agence Nationale de la Recherche (France), 2012, 2011; American Councils for International Education: ACTR/ACCELS, 2010, 2008; National Endowment for the Humanities Interpretive Research/Collaborative, 2001, 1998, 1997, 1994, 1993, 1991, 1990; Preservation/Access, 1993; Translations, 1995, 1990, 1988. Program Review external evaluator: University of Massachusetts, Amherst, 2017; Lafayette College (PA), 2014; College at Brockport-SUNY, 2012; Monmouth University (NJ), 2011; University of Northern Colorado, 2009; Plymouth State University (NH), 2009; Miami University (OH), 2007; Slippery Rock University (PA), 2003. Tenure and promotion referee: University of Chicago, 2016; University of Mississippi, 2015; Queen’s College, CUNY, 2014; Queen Mary University of London, 2013; Miami University, 2012; Ball State University, 2012; Tufts University, 2011; Bowling Green State University, 2011; Indiana University, 2011; Rhode Island College, 2010; George Washington University, 2009; University of Texas, Austin, 2006; University of California, Irvine, 2000; Williams College, 1999; University of Richmond, 1996; Tufts University, 1994; University of Maine, Farmington, 1994; Portland State University, 1994; University of Victoria (Canada), 1993; George Mason University, 1993; University of Michigan, 1989. Book Review Editor, Studies in Russian & Soviet Cinema, 2008-14; Historical Journal of Film, Radio & Television, 1992-97. PhD Comprehensive Exam Committee, University at Albany-SUNY, 2012. Nominating Committee, New England Historical Association, 2010-13 (Chair, 2011-13). Judge, CASE/Carnegie Foundation U.S. Professor of the Year Competition, 2010-2013. Journal proposal referee: Routledge, 2009. PhD Dissertation Committee: Ilana Sharp, “Esther Shub’s Neigrovaia fil’ma and the Constructivist Origins of Documentary,” Curtin University of Technology, Perth, Australia, 2007. Workshop proposal referee: Central European University (Budapest), 2005. Professional Division, American Historical Association, 2003-05. Committee on the Status of Women, American Association for the Advancement of Slavic Studies, 2002-04 (chair, 2003-04). Co-Moderator, American Historical Association Chairs’ Listserve, 2001-03. Nominating Committee, Association of Women in Slavic Studies, 1998-00 (chair, 2000). Heldt Book Prize Committee, Association of Women in Slavic Studies, 1997-00. Council, International Association for Media & History (IAMHIST), 1995-98; Interim Council,

17 1994-95; Vice-President, 1991-93. Film Review Editor, Soviet and Post-Soviet Review, 1993-95. Chair, Working Group on Cinema & Television (CIS & Eastern Europe), 1987-92; Executive Committee, 1993-95. Executive Committee, American Association for the Advancement of Slavic Studies Council of Member Institutions, 1991-93.

PROFESSIONAL SOCIETIES American Association for Slavic, East European & Eurasian Studies Association for Women in Slavic Studies Southern Conference on Slavic Studies

[Updated January 2019]

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