Film history; film theory and semiotics; Russian silent film and the 20th‑century Russian culture

1984                Institute of Theater, Music and Cinema                               Leningrad

Kandidat iskusstvovedenia (spetsialnost kinoiskusstvo) Ph.D. in Art History (Film)

Dissertation: "Russian Film Criticism before 1917"

1972‑75           Graduate studies: Institute of Art History                              Moscow

1967‑72           State University of Latvia                                                       Riga

                         M.A. in English language and literature

Russian (native); Latvian (native); English (fluent);

Polish, French and German (reading habits)

1996-present  University of Chicago, departments: Art History,  Slavic Languages and Literatures, Comparative Literature, Committee for Film and Media Studies. Professor of film, acting chair during academic year 1999-90. Acting director of the Film Study Centre during the Autumn Quarter of 1997.

1975‑1996 Senior Research Fellow; Institute of Folklore, Literature and Art, Latvian Academy of Sciences), Riga, Latvia.

1991-1996 Visiting professor at the School of Cinema-Television and the Department of Slavic Languages and Literatures, University of Southern California, Los Angeles (Spring semesters only).

1998 Course on International Cinema of the 1910s at the University of Stockholm, Sweden

1993-1996 Scholarly Supervisor, National Cinematheque of Latvia

1995 Director of the UNESCO Summer School on Film History (Riga)

1994 Film History course at the Academy of Culture, Riga, Latvia

1994 Course in Semiotics of Film, Departments of Semiotics and Russian Literature of Tartu University, Estonia

1994 Visiting professor in Film Studies Program at the University of California, Santa Barbara

1993 Visiting professor, University of Amsterdam, Holland

1987-1993 Consultant curator, Riga Film Museum

1987-1990 Head of the team assigned to restore early Russian films (Moscow)

1992-1993 Research Grant from the J. Paul Getty Center for the History of Arts and the Humanities

1990 Visiting Research Fellow, British Film Institute, London

1987 Course on film restoration at VGIK (Film Institute, Moscow)

1998 Board of Experts for the “Birth of a Nation on CD ROM” project at Georgia Tech School

1995-8 International Committee for the Centenary of Eisenstein (headquarters at NYU, New York)

1995-present Editorial Board of Aura, (Stockholm University)

1994-present Advisory Board of Experiment: A Journal of Russian Culture, Institute of Modern Russian Culture, California-Texas

1993-present Editorial Board of Archivos (Filmoteca Generalitat

Valenciana, Spain)

1992-present International Advisory Board of Eisenstein Center of

Film Culture Studies (Moscow)

1984-present Editorial Board, Tynianovskii Sbornik (Tynianov

Biannual), Riga-Moscow

1994-95 Scholarly Committee of the International Lumiere Conference [Congres Lumiere] held in Lyon (France) 7-10 June, 1995)

1992-94 Organising Committee of the Third Interna­tional

Colloquium of DOMITOR in New York, 1994

1991-93 Program Committee of the 1993 Conference for

International Association for Media and History

1991-93 Vice President of DOMITOR (International Association to Promote the Study of Early Cinema)

Prof Marsha Kinder, School of Cinema-Television, University of Southern California

Prof. David Bordwell, the Department of Communication Arts, University of Wisconsin, Madison

Prof. Olga Matich, The Department of Slavic Languages and Literatures, University of California, Berkeley

Prof. Ian Christie, Burbank University, UK

2006 2006 Ninth International Domitor Conference in Ann Arbor, MI (Domitor = International Association of Early Film Historians) -- moderating

2006 Globalism + Film History Conference at UIC

2006 The Fate of Disciplines Conference (UofC/Franke Inst), panel moderator

2006 Charlie Chaplin in Japan, Intl conference in Kyoto, Japan

2005 The Chaplin Conference at the British Film Institute, London

2005 The Kaufman brothers symposium at the Colgate University, NY

2005 Film Style in Question (University of Wisconsin at Madison)

2005 Sound, word, image: The Moscow–Berlin axis in culture in the 1920s and 1930s. University of Chicago, Department of History

2004 Russian Word about Israel (The Hebrew University of Jerusalem)

2004 Twelfth Tynianov Conference (Rezekne, Latvia)

2004 AAASS Conference (Boston, MA)

2003 The Chaplin Conference at the British Film Institute (planning session)

2003 The Lotman Memorial Conference, Russian State Humanities University, Moscow

2003 Society for Cinema and Media Studies Annual Conference (Minneapolis)

2003 Symbolism in European Literatures (The Hebrew University of Jerusalem, Israel)

2003 Breaking Lines: Movement and the Russian Avant-Garde (Palaia, Italy)

2002 White Guards in Hollywood, Moscow, Filmmaker Union/NLO

2002 Eleventh Tynianov Conference (Rezekne, Latvia)

2002 Keynote Address at the Symposium Formalists and Film, Harriman Institute, Columbia University, May, New York

2002 Russians in Hollywood. Symposium, April, UNC Chapel Hill.

2002 Cultural Semiotics: Cultural Mechanisms, Boundaries, Identities. February Tartu University (Estonia).

2002 Film and its Multiples. March. Conference at the University of Udine (Italy).

2001 Cultural Policy of Video Games. The University of Chicago.

2001 (Bi)sexual symbolism in Ivan the Terrible. Paper given at the Annual Conference of the Society for Cinema Studies, Washington, DC.

2001 Russians in Hollywood. Symposium at Stanford/Berkeley

2001 The Visible Man [on the history of acting], University of Udine, Italy

2001 Century Cities, Tate (Modern) Gallery, London

2001 Symp. Russian Cinema in European Context, University of Pittsburgh.

2001 The history of the Magic Lantern, British Academy, London

2000 Trains in Films, Trinity College, Cambridge University, Great Britain

2000 Tenth Tynianov Conference (Rezekne, Latvia)

2000 Actor and Politics: Conference on Nikolai Cherkasov at the University of Munich jointly with the Munich Film Museum, Germany

1999 Summer school on Nordic silent cinema(s) at Riga Film Museum jointly with the Cultural Academy of Latvia (director; paper presented)

1999 Conference in memory of Yuri Lotman (Russia’s Humanitarian University, Moscow)

1999 Synesthetic Education and the Cultural Organization of the Senses, at the Franke Institute for the Humanities, Chicago (respondent).

1999 Russian Culture and Modernity, at the University of Southern California, LA

1999 Orphan films, at the University of South Carolina, Columbia

1999 Interactive Frictions, at the University of Southern California, LA

1999 Frozen Images. UC Berkeley (Department of Rhetoric)

1998 Urban space and city culture. International semiotic conference in memory of Yuri Lotman, Russian State University of Humanities, Moscow

1998 Eisenstein at 100: a reconsideration. Dartmouth College, Hanover

1998 Ninth Tynianov Conference (Rezekne, Latvia)

1998 Eisenstein: Texts and Contexts, Worcester College, Oxford University

1998 The Birth of the Genre, University of Udine, Italy

1998 Midwest Faculty Seminar, Chicago, IL

1997 Revolutionary Images, University of Oulu, Finland

1997 Colonial Imaging, University of Chicago

1997 Words and Images in Silent Film, University of Udine, Italy

1997 Round table on Soviet cinema, 1918-1924, Giornate del Cinema Muto in

Pordenone, Italy

1996 The Dawn of Cinema (The Museum of Contemporary Art, Sydney,

Australia)

1996 Eighth Tynianov Conference (Rezekne, Latvia)

1996 Archaeology of Cinema (Filmoteca Generalitat Valenciana Universidad Internacional Menendez Pelayo, Valencia, Spain)

1996 Interactive Technology Workshop (Stockholm University, Sweden)

1996 Russia, 1913: A Cultural reconstruction (University of California,

Berkeley)

1996 Annual Conference of Society for Cinema Studies (Dallas)

1996 American and Russian Film: A Post-Cold War Perspective, UCLA Film and Television Archive, International Symposium co-organized with the Institute of Film Art (Russia )

1995 Cinema Nella Scrittura, International Conference, Department of

Comparative Literatures  of the University of Bergamo, Italy

1995 UNESCO International Summer School on Film History (Riga, Latvia): Acting for Silents: Styles, Schools,  Stars. Co-ordinating, panel chairing, paper

1995 Nation, National Identity, and the International Cinema, International

Conference, Chateau de La Bretesche, France (organized jointly by the University of Wisconsin, Madison, and the Bochard Foundation, France)

1995 Problems of Film Restoration, An International Seminar organized at

the Moscow Film Museum

1995 International Lumiere Conference [Congres Lumiere] University of Lyon, France

1995 Celebrating 1895: An International Conference on Film before 1920

(National Museum of Photography, Film and Television, Bradford, in                                                                                               

association with the University of Derby, United Kingdom)

1995 The Culture that Made Cinema (Stanford Humanities Center, Stanford

University)

1995 Official Delegate of the National Cinematheque of Latvia at FIAF

Congress in Los Angeles, California

1995 When Ivan Met Mickey: Walt Disney's Mark on Sergei Eisenstein

(Symposium held at University of California, Berkeley, and Pacific Film Archive)

1994 Cine City: Film and Perceptions of Urban Space (1895-1995), Getty Center for the History of Art and the Humanities (Los Angeles)

1994 Cinema Turns Hundred. The Third International  Colloquium of DOMITOR held at the New York University and the Museum of Modern Art (New York)

1994 Imperial Russia: Borders, Frontiers, Identities.Second IREX SSRC Columbia University Russian-American Summer Seminar "Russian History and Culture in World Context" (Kazan, Russia)

1993 Movies Begin: A Conference Commemorating the 100th

Anniversary of Motion Pictures", Yale University

1993 IAMHIST International Conference at Amsterdam "Cinema and the

World War 1." Panel chairing and a paper presented in collaboration with Richard Taylor

1992 Images across Borders: The Concept of nationality in early cinema. The Second International Colloquium of "Domitor" held at the University of Lausanne, Switzerland

1991         Film Analyses: Confrontation of Methods, International Centre of Semiotics

and Linguistics of the Urbino University, Italy

1991 Le Portrait peint au cinema [Portrait Paintings in Films], Le Musee du

Louvre, Paris

1991 Intertextuality and Intermediality. Konstanz University, Konstanz,

Germany

1990 Film and Religion, First International colloquium organized by

DOMITOR in Quebec, Canada

1990 Ejzenstein: Oltre il cinema: Le Figure, Le Forme, Il Senso

dell'Immagine. International conference, the Biennale di Venezia, Venice, Italy

1990 International Conference on Russian Avant‑Garde Art, University of

Southern California, Los Angeles

1989 Round Table on Early Cinema in Russia, Musee d'Orsay, Paris, France

1988 International Conference on Sergei Eisenstein, Oxford University, Great

Britain

1987 The Semiotics of the Mirror, Tartu University, Estonia

1986 The Semiotics of Urban Life, Tartu University, Estonia

1984‑2004 11 Biannual Conferences on Poetics in Honour of Yuri Tynianov

[Tynianovskie chteniia, 1‑6], Resekne, Latvia (papers, chairing, organizing

committee)

2006 Lecture at the Berkeley Film Seminar

2006 Lecture/seminar at the Davis Center for History, Princeton University

2006 Lecture series at the Austrian Film Museum, Vienna

2005 Lecture/seminar at Yale (Joint Slavic/Cinema/History/Art History faculty & students event)

2005 Lecture at Wesleyan University 

2004 Georg Brandes School, University of Copenhagen

2004 Univeristy of Illinois, Champaign, Unbana

2004 Middlebury College, Middlebury, Vermont

2003 Yale University, Center for European research

2003 Havighurst Center, Miami University, Oxford, OH

2003 Johns Hopkins University, Baltimore

2003 University of Southern California (Slavic Department, School of Cinema and Television)

2003 Wayne State University in Detroit (English department and the film studies program)

2003 Midwest Faculty Seminar, Chicago

2002 Lecture: Music and Images in Eisenstein’s Ivan the Terrible (conference Music and Politics at the Reed College, Portland; February)

2001 Eberhard L. Faber, Class of 1915 Memorial Lecture ‘Sergei Eisenstein between History and Art’ at Princeton University

2001 Guggenheim Museum, New York

2001  Field Museum of Natural History, Chicago

2001 Midway Faculty Seminar, Chicago

2000 National Gallery of Art, Washington DC

2000 Computer Cultures workshop (Sawyer seminar), the Franke Institute of Humanities, Chicago

2000 NYU, Tisch School of the Arts, New York

2000 Drawing Center & Performing Garage, New York

2000 Midwest Faculty Seminar, Chicago

1999 Munich Film Museum, Munich

1999 Stanford University, California

1999 Reed College, Portland

1999 University of Pittsburgh, Pennsylvania 

1999 Chicago Consortium for Slavic and East European Studies, University of Chicago

1999 Amherst College, Mass.

1998 Arts Club of Chicago

1997 School of Film Preservation, George Eastman House Museum,  Rochester

1996 Sydney University of Technology, Sydney, Australia

1996 University of Madison, Wisconsin

1996 Clairmont McKenna College, California

1996 Stanford University

1996 University of Chicago

1995 Harvard University, Dept of Visual and Environmental Studies

1994 Slavic Department, University of California, Berkeley

1993 Stockholm University, Sweden

1993 Cleveland Museum of Art, Cleveland, Ohio

1993 The Netherlands Film Museum, Amsterdam

1992 Cinema Studies, University of California, Los Angeles

1992 Seminar on Semiotics of Culture, University of California, Los Angeles

1992 Cinema School/Finnish Film Archive, Helsinki, Finland

1992 Slavic Department, Stanford University

1992 Pacific Film Archive, Berkeley

1992 Motion Picture, Broadcasting and Recorded Sound Division, the Library of

Congress, Washington

1992 Kennon Institute, Washington

1991 Film Studies Centre, the University of Chicago

1991 Dept of Communication Arts, the University of Wisconsin- Madison

1991 Dept of French Studies, the University of California, Los Angeles

1991 Oulu Film Centre, Oulu, Finland

1990 MoMI (Museum of Moving Images), public lecture, London, Great Britain

1990 Dept of Slavic Languages and Literatures, the University of California,

Berkeley

1990 The School of Slavonic Studies, the  London University, Great Britain

1990 Film Studies Program, Indiana University, Bloomington

1990 The Tisch School for the Arts, New York University

1989 Universite de Paris III, France

1986 Film Studies Program, the Cracow University, Poland

1986 Film Studies Program, the University of Katowice, Poland

1.                  Padomju Latvijas Kinomaksla [Cinema of the Soviet Latvia, in Latvian]

(collective volume on the history of post-WWII cinema in Latvia, written jointly with: Z. & B. Ascuki, Maja Augstkalne, Valentina Freimane, Silvija Lice, Andris Krauze, Elmars Riekstins, Anita Uzulniece), Riga: 1989, Liesma, 460 pages.          

2.                  Silent Witnesses: Russian Films, 1908‑1919 [bilingual: English and

Italian], Pordenone/London: British Film Institute & Edizioni dell'Immagine, 1989, 621 pages. American edition released in 1991 by Indiana University Press under the same title.

Reviews:

            "Books of the Year," in: International Film Guide Variety (London, New York, 1991), p. 490;

            Vance Kepley, Jr. [professor, chair; Dept of Communication Arts at University of Wisconsin-Madison], in: Slavic Review, 1991, vol. 50, no 2, Summer 1991, pp. 468-9;

             Mark Le Fanu, "Before Eisenstein," in: The Cambridge Quarterly, 1991, [Cambridge University, Great Britain; Vol and No not mentioned on the offprint sent to me by the reviewer], pp. 83-90;

            Moira Ratchford (Cultural Analyst at the American Committee on U.S.-Soviet Relations) in: The Russian Review: An American Quarterly Devoted to Russia Past and Present, Vol. 51, No 1, January 1992, pp. 116-118;

            Julian Graffy, "'Cinema is Life': Recent Studies of Russian and Early Soviet Cinema," in: The Slavonic and East European Review (London, The school of Slavonic and East European Studies, University of London), Vol. 70, No 3, July 1992), pp. 505-6;

            Sabine Lenk, 'Das russische Kino vor der Revolution,' Montage/av, 1/1/1992, pp. 151-155 (in German).

3.                  Istoricheskaya retseptsija kino: kinematograf v Rossii 1896‑1930

[History of Film Reception in Russia, 1896‑1930], (in Russian), Zinatne Publ., Riga, 1991, 492 pages.

Reviews:

             Julian Graffy, "'Cinema is Life': Recent Studies of Russian and Early Soviet Cinema," in: The Slavonic and East European Review (London, The school of Slavonic and East European Studies, University of London), Vol. 70, No 3, July 1992, pp. 509-10;

            Roman Timenchik, broadcast over the 'Radio Svoboda' (Radio Liberty) in their cultural programme "Over the Barriers" in Spring, 1992; written version of this review appeared in Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1993, no 18, pp. 277-79 (in Russian);

            Sabine Lenk, 'Das russische Kino vor der Revolution' Montage/av, Zeitschrift fuer Theorie & Geschichte audiovisueller Kommunikation, 1/1/1992, pp. 151-155 (in German);

            Jacques Aumont (professor of film theory, University Paris III, Sorbonne Nouvelle) in Cinematheque, no 4, Automne 1993, pp. 124-7 (in French);

            A. Reitblat in Novoe Literaturnoe Obozrenie [New  Literary Review], # 11, 1995, pp. 336-338 (in Russian).

4.             Early Cinema in Russia and its Cultural Reception, with a foreword by                      Tom Gunning (Routledge: London, New York, 1994), 273 pages; (revised and updated English translation of (2); translated by Alan Bodger). Paperback version: University of Chicago Press, 1998.

Reviews:

            Gunnar Iversen, "Stumme vittnen: Askadaren i tidig rysk filmkultur," in: Filmhaftet, 1995, nr. 2, pp. 104-105 (in Swedish);

            Lorenzo Codelli in Griffithiana, No 54, October 1995, p. 136 (in Italian);

            Frank Kessler, "Frueher Kino in Russland," in: Kintop: Jahrbuch zur Erforschung des fruehen Films vol 4 (1995), pp. 187-189 (in German);

            Ansje van Beusekom, in Skrien, 1995, # 205, pp. 72-3 (in Dutch);

            Louise McReynolds, in Slavic Review: Americal Quarterly of Russian, Eurasian and East European Studies, Winter, 1995, pp. 1035-1037;

            Denise Youngblood in Historical Journal of Film, Radio and Television, Vol. 16, No. 2, 1996;

            Natalya Noussinova in Iris # 22, Autumn 1996, pp. 217-221(in French).

5.             Dialog s ekranom (kniga dlya junoshestva) [Dialogue with the Screen,

textbook for students, in Russian], written jointly with prof. Yuri Lotman] (Alexandra Publishers: Tallinn [Estonia], 1994), 215 pages.

Reviews:

Ilya Lepikhov in the major Moscow daily newspaper Segodnia [To-Day],      # 83, May 6, 1995, p. 10 (in Russian);

V.Kuritsyn, “New vocabulary for the dialogue with the screen.” Ъ. 1995. 8 Aug. (in Russian);

Marek Hendrykowski, Kino, 1995, no 2, pp. 37-8 (in Polish);

Valentina Rossi, "Al di la del sogno, il dialogo" (in Italian; a photocopy of this review was sent to me by its author without mentioning the source); pp. 211-213.

6.          Dialogo con lo schermo [Dialogue with the Screen, written jointly with prof. Yuri Lotman; revised Italian translation of # 5] (Bergamo, Moretti & Vitali, 2001), 330 pages.

7.          Ivan the Terrible (London: British Film Institute Publishing, 2002), 95 pages.

Reviews:

by Helen Grace in Senses of Cinema 7.22.02 (www.sensesofcinema.com)

by Christopher Bray in Daily Telegraph, Sat 25. May 2002 p. 2

by Jim Merrett in Hodog Sat 1. June 2002 p. 127

by Tony Pipolo in Cineaste (Winter, 2002) pp. 42-44

by David Gillespie in SEER (Slavonic & East European Review), 81, 2, 2003, pp. 336-7

8.               Velikij Kinemo [Great Kinemo]: Catalogue of surviving fiction film released in Russia in 1908-1919, with complete sets of reviews and documents. (In Russian). [Co-edited with Vera Ivanova, Viktoria Mylnikova, Svetlana Skovorodnikova, Rashit Yangirov] (Moscow: Novoe literaturnoe obozrenie, 2002). 565 pages.

The book received the Best Book Award from Russia’s Film Critic Guild.

9.               Lines of Resistance: Dziga Vertov and the Twenties (Pordenone: Le Giornate del Cinema Muto, 2004). A selection of contemporary writings on and by Dziga Vertov, edited and with an introduction by Yuri Tsivian. 422 pages.

Review: John MacKay, “The “Spinning Top” Takes Another Turn: Vertov Today” in KinoKultura http://www.kinokultura.com/articles/apr05-mackay.html

10.           Dialogue with the Screen, written jointly with prof. Yuri Lotman translated into Korean, <as Skringway Daehwa> Tran. Lee Hyunsuk
Seoul: Woomulhouse, 2005.

11.            Eglantine: Collection of Philological Essay to Honor the Sixtieth Anniversary of Roman Timenchik (in Russian) (Moscow: Vodolei, 2005) Co-edited with A. Ospovat and Y. Leving.

Around 90 articles listed below in chronological order were originally written  in Russian, Latvian or English; a number of them have been translated into Italian, French, German, Polish, Czech, Bulgarian, Estonian, Swedish, Spanish, Portuguese, or Finnish. These translations are not listed as individual items but appear (despite the time lags) under the original publication. The language of the first publication is marked after the title; if no language is indicated, the text is in English.

"On the Origin of Montage Technique in Early Cinema" (in Russian), in: Izvestiia Akademii Nauk Latvii [Transactions of the Academy of Sciences of Latvia], 1979, No 7 (432), pp. 67‑78.

"'L'Homme a camera' de Dziga Vertov en tant que texte constructiviste," (first published in French) Revue du Cinema (Image et Son), 1980 (juin), No 351, pp. 109‑125. German translation as “Some Considerations about the Structure of Man with a Movie Camera” in: Natasha Drubek-Meyer/Jurij Murasov (eds), Apparatur und Rhapsodie: Zu den Filmen des Dziga Vertov (Peter Lang, 2000): 119-146.

"On the Doctrinal Text in Dziga Vertov's Film The Man with the Movie Camera," (in Russian), Russian Literature (The Hague) X‑IV, Nov. 1981, pp. 359‑368.

"On the Genesis of Russian Film Style" (in Russian), Wiener Slawistischer Almanach, Band 14, 1984, pp. 255‑281.

"On the Metasemiotic Approach to Narrative Technique in Cinema" (in Russian), Trudi po znakovim systemam  [Works on Sign Systems], vol. 17, Tartu, 1984, pp. 109‑121. A Czech translation of this article included in: Eva Struskova (ed.), Sbornik Filmove teorie II. Tartuska Skola: J.M.Lotman, V.V.Ivanov, J.G.Civjan [=Yuri Tsivian], M.B.Jampolskij (Narodni Filmovy Arhiv: Prague, 1994). Reviewed in: Film a Doba, vol. 42, 1996, pp. 94-5; Iluminace, 1996, vol. 8, # 3 (23), pp. 147-153.

"On the Origin of Some Motifs in Andrei Belyi's Petersburg" (in Russian), Trudi po znakovim systemam [Works on Sign Systems], vol. 18, Tartu, 1984, pp. 106‑116.

"SVD: Melodrama and History" (in Russian), jointly with prof. Yuri Lotman, Tynianovskie chteniia [Proceedings of Tynianov Conference], 1, Riga, 1985, pp. 46‑77. A Bulgarian translation of this article was published in: Syuz na bolgarskite filmovi deitsi, buletin, godina XYIII, Broi I, p. 1-42; Polish translation in: Tadeusz Szczepanski, Boguslaw Zylko (eds), Wonderful cinema: Russian Film Thought (Gdansk: Slowo/Obraz, 2002) (in Polish), pp. 214-220.

"'Intellectual Cinema': Towards the History of the Concept" (in Russian), Iz tvorcheskogo nasledija Eizenshtejna [Eisenstein's Artistic Legacy], Moscow, 1985, pp. 107-111.

"Towards the History of Connections Between Theatre and Cinema in Turn-of-the-Century Russian Culture ('source' and 'mimicry')" in: A. Prokhorov (ed.), Problemy sinteza iskusstv v khudozhestvennoi kulture [Questions of Synthesis of Arts in Artistic Culture] (Moscow, 1985), pp. 100-113.

"Towards the History of Soft Focus in Films" (in Russian), Literaturnii protsess i razvitie russkoi kul'turi XVII‑XX vv. [Literature and  culture in 18‑20th-century Russia], Tallinn, 1985, pp. 108‑109.

"Western Film Theory" (in Russian) jointly with Mikhail Yampolskii, Kino, entsiklopeditcheskii slovar [Encyclopedia of Cinema], Moscow, 1986, pp. 183‑186.

"The Early Evolution of Film Language" (in Russian), Trudi po znakovim systemam [Works on sign systems], vol. 19, Tartu, 1986, pp. 145‑154. An Italian translation of this article appeared as: "Il problema della prima evoluzione del linguaggio cinematografico," in: Le Lingue del Mondo, Nov‑Dec 1988, N0 6, pp.43‑48; its Polish translation as "Wokol problemow poczatkow ewolucji jezyka filmu", is included in: Alicja Helman (ed.), Panorama Wspolczesnej Mysli Filmowej, (Universitas: Krakow, 1992), pp. 223-31.

"Paleograms in the film The Overcoat" (in Russian), Tynianovskie chteniia, [Proceedings of the Tynianov conference], vol. 2, Riga, 1986, pp. 14‑27.

"Tynianov and Film" (in Russian), jointly with Evgenii Toddes, Iskusstvo kino, [The Art of Cinema] 7, 1986, pp. 88‑98.

"Notes historiques en marge de l'experience Kouleshov" (in French) IRIS, vol. 4, No 1, 1986, pp. 49‑59. An English translation of this article appeared as "Some Historical Footnotes to the Kuleshov Experiment," in: Thomas Elsaesser (ed.) Early Cinema: Space, Frame, Narrative (BFI: London, 1990).

"The Train as a Cultural Symbol" (in Russian), Trudi po znakovim systemam [Works on Sign Systems], vol. 21, Tartu, 1987, pp. 119‑134. A Czech translation of this article is included in: Eva Struskova (ed.), Sbornik Filmove teorie II. Tartuska Skola: J.M.Lotman, V.V.Ivanov, J.G.Civjan [=Yuri Tsivian], M.B.Jampolskij (Narodni Filmovy Arhiv: Prague, 1994).

"Dziga Vertov's The Man with the Movie Camera: Montage as Discourse," (in Russian) in: B.V. Raushenbakh (ed.), Montazh: Teatr, Iskusstvo, Literatura, Kino [Montage: Theater, Art, Literature, Film] (Nauka: Moscow, 1988), pp. 78-98.

"The Semiotics of Intertitles in Early Films" (in Russian), Trudi po znakovim systemam [Works on Sign Systems], vol. 22, Tartu, 1988, pp. 143‑154; a Polish translation of this article appeared as "O semiotyce napisu w filmie niemym," in: Alicja Helman, Jacek Osraszewki (eds.), Film: Jezyk-rzeczywitosc-osoba (Warszawa: Zaklad Semiotyki Logicznej Uniwersytetu Warszaskiego, 1992), pp. 207-16.

"Camera Movement 'on' and 'along' in Early Cinema" (in Russian), Tynianovskie chteniia [Proceedings of the Tynianov conference], vol. 3, Riga, 1988, pp.120‑138.

"The Docks of New York," (in Russian) Isskusstvo Kino [Cinema Art], (Moscow), 1988, No 1, pp. 119-121.

"The Crowd" (in Russian) Isskusstvo Kino [Cinema Art], (Moscow), 1988, No 3, pp. 105-107.

"The Assassination of the Duke De Guise," (in Russian) Isskusstvo Kino [Cinema Art], (Moscow), 1988, No 10, pp. 120-122.

"The Screen Image and the Norm of Space Perception," (in Russian) Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1988, No 1, pp. 65-70.

"Proxemics: the Language of Space," (in Russian), Nauka i Tehnika [Science and Technology], 1988, No 8 (pp. 28-30), no 9 (pp. 28-30).

"Historical Films and the Dynamics of Power: Trotsky and Stalin in the Soviet Cinema," (in Russian) Daugava (Riga), 1988, No 4, pp. 98-101; English translation in: The Marxist Monthly (Theoretical Journal of the Marxist Party) (London), Vol. 1, No 10, 1988, pp. 24-29; Italian translation as "Il film storico e la dinamica del potere: Trockij e Stalin nel cinema sovietico", Bollettino per Biblioteche, 34, Aprile, 1989, p. 37‑39.

"Sound as an Element of Film Language," (in Russian), jointly with Yuri Lotman, Rodnik [The Source], 1989, No 5, p. 50-51.

The Nature of Storytelling in Cinema,” (in Russian) jointly with Yuri Lotman, Daugava, 1989, No 7, pp. 97-104.

"Sologub as a Screen-writer" (in Russian) jointly with Natalia Noussinova, in: Kinostsenarii [Film Scenarios], 1989, no 2, pp. 151-170; French translation as "Sologub et le cinema," in La Licorne, 1990/17, pp. Pp. 221‑334.

[Chairing the] "Round‑Table Discussion on Russian Cinema," Griffithiana, vol. 37, Dec. 1989, pp. 197‑203.

"'Reaction shot' su Evgeni Bauer," (in Italian) Segno cinema, Mar 1990, No 42, pp. 56‑58.

"Lacplesis, a Film from Latvia," Griffithiana, vol. 38/39, Oct. 1990, pp. 197‑203.

"The Early Period of the FEKS Group and Some Cultural Topoi of the 20s," (in Russian) Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1990, No 7, pp. 20-26; a French translation of this article appeared as "L'ecran sur la scene, chez les FEKS et chez Eisenstein" in: Natalia Noussinova (ed.) Leonid Trauberg et L'Excentrisme: Les debuts de l'acteur excentrique 1921-1925 (Stuc: Edition Yellow Now, 1993), pp. 113-122.

"La poetique d'un texte heterogene: 'Debris d'Empire' du Friedrich Ermler," (in French), jointly with Mikhail Iampolskii, La Licorne, 1990/17, pp. 181‑215.

"Rencontre au Cabinet Eisenstein," (in French)  [participation a group interview on cinema and totalitarianism conducted by Cahiers du Cinema (other participants: Maia Tourovskaya, Naum Kleiman, Mikhail Yampolsky)], Cahiers du Cinema, January 1990, (Special Supplement on USSR to no 427), pp. 42-48.

Introductory article and guest-editing of Cinefocus, vol. 2, no 1, Fall 1991; vol. 2, no 2 (Special Issues on the Russian cinema, 1908-1919).

"Some Preparatory Remarks on Russian Cinema" [revised and extended version of the introductory article to Silent Witnesses], in: Ian Christie & Richard Taylor (eds.), Inside the Film Factory, (Routledge: London, 1991); a part of this article under the title "The Origins of the 'Braking School'" was reprinted in: Ian Christie, Julian Graffy (eds), Protazanov and the Continuity of Russian Cinema (London: BFI/NFT, 1993), pp. 23-25. Polish translation as "Kino rosyjskie lat 1913-1918" in: Kwartalnik filmowy, Nr 12-13, Zima-Wiosna 1995/1996, pp. 286-292.

"Melies in Russia: a Reception Study", in: Paolo Cherchi Usai (ed.), A Trip to the Movies: Georges Melies, Filmmaker and Magician (1861-1938), Le Giornate del Cinema Muto & George Eastman House, 1991, pp. 112-135.

"Early Russian Cinema and its Public", Historical Journal of Film, Radio and Television, 1991, vol. 11, No 2, pp. 105‑120.

"Theory of 'intellectual editing' in the context of the aesthetic thought of the 1910s" (in Italian), in: Pietro Montani (ed.) Sergei Eizenstein: Oltre il cinema (La Biennale di Venezia/Edizioni dell'Immagine, 1991), pp. 104-114. A Swedish translation of this article appeared in  Aura: Filmvetenskaplig tidskrift, vol. 1, No 2/1995, pp. 14-21.

[Commentary to] A.Digmelov, memoirs "Pjatdesjat let nazad" [50 years ago] (in Russian), jointly with G.Tushmanishvili and R.Yangirov, Minuvshee: Istoricheskij Al'manakh [The Past: Historical Almanakh], Vol. 10, Atheneum (Paris, Moscow: 1992) pp. 394-414.  

"Text and Gesture: Boris Godunov as Performed by Provincial Actors of the 1910s," (in Russian) Sbornik statei k 70-letiju prof. Yu.M. Lotmana [Collection of Essays to Honour the 70th Anniversary of professor Yuri Lotman], Tartu, 1992, pp. 208-224.

"X-Rays, Surgery, Microscope and the Semiotics of Early Cinema" (in Russian), Trudi po znakovim systemam [Works on Sign Systems], vol. 25, Tartu, 1992, pp. 137‑143. Estonian translation in: Vikerkaar, 10-11 / 1997, pp. 106-15; Polish translation in: Tadeusz Szczepanski, Boguslaw Zylko (eds), Wonderful cinema: Russian Film Thought (Gdansk: Slowo/Obraz, 2002) (in Polish) pp. 255-289.

"Censure Bans on Religious Subjects in Russian Films," in: Roland Cosandey, Andre Gaudreault, Tom Gunning (eds), An Invention of the Devil? Religion and Early Cinema (Quebec/Lausanne: Les Presses de L'Universite Laval - Editions Payot), 1992, pp. 71-80.

"Portraits, Mirrors, Death: On Some Decadent Clichés in Early Russian Films", Iris, 1992 (Autumn), No 14-15, pp. 67-83.

"On acoustic equivalents of silence," (in Russian) Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1992, No 7, pp. 120-123.

"Caligari in Russia: German Expressionism and Soviet Film Culture", in: Thomas W. Gaethens, (ed.) Kuenstlerischer Austauch / Artistic Exchage: Akten des XXVIII. Internationalen Kongresses fuer Kunstgeschichte, Berlin, 15.-20. Juli 1992 (Berlin: Akademie Verlag, 1992/4), pp. 153-64; a German translation of this article appeared in: Montage/av, Zeitschrift fue Theorie & Geschichte audiovisueller Kommunikation, 2/2/1992, pp. 35-48; in 1995 an updated version of this essay was included in the catalogue of the exibition and film retrospective ("Filmreihe") "Moskau-Berlin" held in Berlin in Fall 1995.

"Cutting and Framing in Bauer's and Kuleshov's Films," Kintop 1: Jahbuch zur Erforschung des Fruehen Films, (Frankfurt, 1992), pp. 103-113.

"Eisenstein and Russian Symbolist Culture: An unknown script of October", in: Ian Christie, Richard Taylor, (eds) Eisenstein Rediscovered, (Routledge: London, New York, 1993), pp. 79-109.

"La reception de l'espace mobile: Anna Karenine et L'Arrivee du train en gare de la Ciotat" (in French), Etudes de Lettres (Lausanne), 1993, no 2, pp. 29-44.

[on Nikolai Aseev's essay] 'Cinema and War' (in Italian), Il Cinematografo al Campo (Ancone: Transeuropa, 1993) [pages not indicated in the bibliographical description sent to me by the translators].

"More real than the real thing: Images of Mongolia in Russian Film", The Voice of Ulan Bator, 1994, # 4, February, pp. 7-8.

"Russia, 1913: Cinema in the Cultural Landscape," Griffithiana, 1994, vol. 50, pp. 125-148. Reprinted in: Richard Abel, Silent Cinema, [an anthology of articles on silent film history], (Rutgers UP, 1996), pp. 194-216.

"The Rorschach Test For Cultures: On Some Parallels Between Early Film Reception in Russia and the United States," The Yale Journal of Criticism, 1994, vol. 7, no 2.

"Battleship Potemkin with the Music by Edmund Meisel," (in Latvian), in: 5 International Film Forum Arsenal (Riga, 1994), p. 94.

[Interview on the future of cinema], (in Russian) in: Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1994/5, # 24, pp. 6-9.

"The Case of the Bioscope Beetle: Starewicz's Answer to Genetics," in: Discourse (Theoretical Studies in Media and Culture) 17.3, (Spring 1995), pp. 119-25. Finnish translation in: Filmin Tahden (Helsinki 1997), pp. 125-129.

"Dziga Vertov's Frozen Music: Cue Sheets and a Music Scenario for The Man with the Movie Camera," Griffithiana, No 54, October 1995, pp. 92-121.

"Russians in Russian Cinema: Construction and Reception of Nationality in Early Film Culture," in: Roland Cosandey et Francois Albera (eds), Cinema sans Frontieres /1896-1918/ Images Across Borders: Internationality in World Cinema: Representations, Markets, Influences and Reception (Quebec/Lausanne: Nuit Blanche Editeur - Editions Payot, 1995), pp. 122-132.

"On the Symbolic Meaning of Trains in Early Cinema" (in Polish) Kwartalnik filmowy # 11, Jesien 1995,  pp. 6-21.

[Foreword and notes to:] Jakov Lintsbach, "Medvetandets bildstrom: Fenomen kinematograf" (in Swedish), Aura: Filmvetenskaplig tidskrift, vol. 1, No 2/1995, pp. 22-26.

Contribution (in Russian) to the round table held at the international conference Preservation and Reconstruction of Film Classics (Moscow, 1995), transcript published in: Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1995, # 28, pp. 146-75.

(in collaboration with Roman Timenchik) “Film and Theatre: Public Discussions of the Teens,” (in Russian) in Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 1996, # 30, pp. 57-87.

"Media Fantasies and Penetrating Vision: Some Links Between X-Rays, the Microscope, and Film," in: John E. Bowlt, Olga Matich (eds.), Laboratory of Dreams: The Russian Avant-Garde and Cultural Experiment (Stanford: Stanford University Press, 1996), pp 81-99.

“The Wise and Wicked Game: Re-editing and Soviet Film Culture of the 1920,” Film History: An International Journal, 1996, Vol. 8, # 3, pp. 327-343. Spanish translation in: Archivos de la Filmoteca (Junio, 1998, # 29, pp. 26-49). French translation as “Sagesse et perversion: Le remontage et la culture cinématographique sovietique des anneés 1920” in Cinéma 07 (Printemps 2004) pp. 123-145.

“The Rediscovery of a Kuleshov’s Experiment: a Dossier” (compiled and translated by YT) Film History: An International Journal, 1996, Vol. 8, # 3, pp. 357-367.

Three contributions (Bauer, Vertov, Russian cinema) for the Oxford History of World Cinema, 1895-1995 (ed. by Geoffrey Nowell-Smith) (Oxford University Press, 1996).

“Two ‘Stylists’ of the Teens: Franz Hofer and Evgenii Bauer, in Thomas Elsaesser (ed.) A Second Life: German Cinema’s First Decades (Amsterdam University Press, 1996), pp. 264-276. German translation of this essay appeared in Thomas Elsaesser and Michael Wedel (eds.) Kino der Kaiserzeit: Zwischen Tradition und Moderne (Muenchen: edition text + kritik, 2002) pp. 379-400.

“The Tango in Russia,” Experiment: A Journal of Russian Culture, 1996, vol. 2, p. 307-34. (reviewed in: Dance Chronicle, NYC, vol. 20, # 3, 1997)

“Between the Old and the New: Soviet Film Culture in 1918-24,” Griffithiana, 55/56, 1996, pp. 15-64.

[in collaboration with Natalia Noussinova] "Looking at Each Other: Russian Emigres on Soviet cinema, Soviet critics on the Émigré Cinema," (in Russian) Iskusstvo kino [The Art of Cinema], 1996, no 4, pp. 20-27. Italian and English translations appeared in Cinegraphie # 10 (Bologna, 1997), pp. 111-119; 290-297.

[in collaboration with Natalia Noussinova] “Filmmaker’s Notes: Moissei Aleinikov’s unpublished memoirs" (in Russian) Iskusstvo kino [The Art of Cinema], 1996, no 7 pp. 104-15

“Homeless Images: D.W.Griffith in the Eye of Soviet Filmmakers”, Griffithiana, 60/61, (October, 1997), pp. 51-76 (English and Italian). Portuguese translation as “Imagesn sem patria: D.W. Griffith aos olhos dos realizadores soviéticos.” In: D.W. Griffith (Lisbon: Cinemateca Portuguesa, 2004), pp. 81-95.

“Spoken Titles in Russian films,“ in: Scrittura e immagine: Atti del IV Convegno Internazionale di Studi sul Cinema (Udine: Forum, 1998), pp. 247-256.

“Sergei Eisenstein,” in: Encyclopaedia of Aesthetics (Oxford University Press, 1998), vol. 2, pp. 96-98.

“Jakov Lintsbakh As Film Semiotician,” Elementa 4.2, December, 1998, pp. 121-9

“Asta Nielsen in the Mirror of Russian Culture,” (in Russian), Kinovedcheskie zapiski 1998 (released 1999), vol. 40: 257-273

“Books in Motion: On One Neglected Tradition in the History of Early Film Genres.” The Birth of Film Genres (Udine: Universita degli Studi di Udine, 1999), pp. 359-378

“Leonid Kinskey, the Hollywood Foreigner,” Film History Vol. 11, No 2, 1999: 175-180; Russian translation in Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 2000, No 47, pp. 229-235.

 “Man with a Movie Camera, Reel One: a Selective Glossary,” Film Studies: An International Review, Issue 2, Spring 2000: 51-76.

Five 1910 films by Griffith, in The Griffith Project: vol. 4 (London: BFI Publishing, 2000): 72-86.

Two chapters (“Russian Pre-revolutionary Film, 1908-1919” and “Soviet Cinema and Film Culture, 1918-1924”) in Storia del Cinema Mondiale (in Italian), edited by Gian-Piero Brunetta (Milan: Einaudi, 2000), pp. 187-236.

‘Will film survive in the next hundred years?’ [Interview] in Russian, in Kinovedcheskije Zapiski [Film Scholarship Annals] (Moscow), 2001, No 50, pp. 19-20

‘Ivan the Terrible: Eisenstein’s Rules of Reading.’ Eisenstein at 100: a Reconsideration. Ed. By A Lavalley and Barry P. Scherr 268-291 (New York: Rutgers University Press, 2001). This essay was also published in Latvian in: Kino Raksti [Film Papers], 4/2001, p. 82-97

"Bisex" as a theme and as an artistic device: the dramatic personae in Eisenstein’s Ivan the Terrible [in Russian] in: Tynianovskii sbornik [The Tynianov Anthology] Moscow, 2002, Vol.11, p. 730-746

New Notes on Russian Film Culture Between 1908 and 1919” in: The Silent Cinema Reader, edited by: Lee Grieveson, Peter Kramer (London: Routledge, 2004), pp. 339-348.

“The Invisible Novelty: Film Adaptations in the 1910s.” In: Robert Stam, Alessandra Raengo, eds. A Companion to Literature and Film (Oxford: Blackwell Publishing, 2005, pp. 92-111. French translation in: Traffic, été 2003, p. 34-47. German translation AS “Das unsichtbare Neue. Filmadaptionen in den 10er Jahren.” In: Malte Hagener / Johann N. Schmidt / Michael Wedel (Hg.), Der Film in der Kultur der Moderne (Berlin: Bertz Verlag, 2004), pp. 167-178.

“Film and Dance: Back and Forth” Experiment/Эксперимент Vol. 10, 2004, pp. 147-156.

“Dziga Vertov, muet en 1929” Théorème, n 8, pp. 51-58.

“Evgenii Bauer” (in Italian) in: Dizionario dei registi del cinema mondiale (A-F), Torino: Einaudi, 2005 pp. 121-123.

“’What is cinema?’ An agnostic answer,” (in French), Trafic, 2005, # 55, pp. 108-122.

‘“Editing” and “Archeology” in Intolerance.’ The Griffith Project, volume 9 (1916-18) ed. By Paolo Cherch Usai. (London: BFI Publishing, 2005), p. 52-57; 88-96.

Contributions on Bauer, Chardynin, Hansen, Maitre, Mosjoukine, Starewicz, Pathe Russe, Protazanov, Yermoliev to: Richard Abel (ed.), Encyclopedia of Early Cinema (London: Routledge, 2005)

“Mad Love” (audio-visual essay published as part of British Film Institute’s DVD/VHS release of Yevgeni Bauer’s films, 2002). American version released by Milestone Film and Video, NYC 2003.

Audio-visual essay on Ivan the Terrible recorded on: Eisenstein: the Sound Years (a set of Eisenstein’s films on DVD (New York: Criterion Collection, 2001). Reviewed by Tony Pipolo in Cineaste (Winter, 2002) pp. 42-44.

Running voice-over commentary for Sergei Eisenstein’s Strike (released on DVD by Image Entertainment Company, Los Angeles, 2000).

(Book-size) Yuri Tsivian, Immaterial Bodies: Cultural Anatomy of Early Russian Films (2000), produced by Barry Schneider as part of the Cine-Disc series of bilingual CD ROMs on national media cultures, edited by Marsha Kinder (Los Angeles: Annenberg Center of Communication and University of Southern California). This CD ROM won the 2001 British Academy of Film and Television Arts award for best interactive project in the learning category and now is being distributed by the British Film Institute. Also reviewed in: Kintop, 8, 1999, pp. 184-6.

Running voice-over commentary for Dziga Vertov’s Man With a Movie Camera released on laser disc (1996) and DVD (1998) by Image Entertainment Company, Los Angeles; also released in a tape version with voice-over by British Film Institute (1998).

Supervision and film restoration for a series of videotapes Early Russian Cinema, in 10 volumes, released by British Film Institute (VHS, PAL) and Milestone Film & Video (VHS, NTSC), 1992; compiled and transferred on video by British Film Institute.

Reviews:

The series was rated ***** (the highest rating) and singled out for its "superb" restoration and strongly recommended as an "automatic purchase" for libraries (Glen Kalterbrun in Video Rating Guide [For Libraries], vol. 4, no 3).

            Richard Stites, "Dusky Images of Tsarst Russia: Prerevolutionary Cinema" in The Russian Reviev, vol. 53, April 1994, pp. 285-95;

            J. Hoberman (film critic for the Village Voice) in the article "Silent Yiddish 'Wedding Day' Restored" in Forward, February 26, 1993;

            James Neibaur in Classic Images, vol. 213, March 1993; in Video Watchdog, No 17, May / June 1993; by Michael Wilmington in his column "New on Video" in Los Angeles Times (# and date of issue missing from the clipping sent to me by Milestone Film and Video Co);

            Michael H. Price in Fort Worth Star-Telegram (July 10, 1993); by James