Page 11 - Inside the Film Factory New Approaches to Russian and Soviet Cinema

Notes on contributors

Richard Taylor is Senior Lecturer in Politics and Russian Studies at the
University College of Swansea. His books include The Politics of the Soviet
Cinema, 1917—1929, Film Propaganda: Soviet Russia and Nazi Germany, The
Poetics of Cinema (editor and part translator) and, with Ian Christie, The Film
Factory: Russian and Soviet Cinema in Documents 1896—1939. He is currently
working on A Cinema for the Millions: Socialist Realism and Soviet Cinema,
1929—38.
Ian Christie is Head of Distribution at the British Film Institute where he has
helped to foster a renewed interest in both classic and contemporary Soviet
cinema. His books include FEKS, Formalism, Futurism: ‘Eccentrism’ and
Soviet Cinema 1918—36 (co-editor, with John Gillett), Powell, Pressburger and
Others (editor), Arrows of Desire: The Films of Michael Powell and Emeric
Pressburger and, with Richard Taylor, The Film Factory: Russian and Soviet
Cinema in Documents 1896—1939.
Yuri Tsivian is a Senior Research Fellow of the Institute of Language and
Literature of the Latvian Academy of Sciences in Riga and headed the team of
scholars in charge of the programme to restore the prints of pre-Revolutionary
Russian films held in the Gosfilmofond archives. He has published widely on
cinema in the Soviet Union and edited Silent Witnesses: Russian Films, 1908—
1919.
Mikhail Yampolsky is a Senior Research Fellow of the All-Union Research
Institute for the History of Cinema in Moscow. He has published widely on film
theory, with special reference to France and Russia.
Vance Kepley, Jr is Associate Professor of Film at the University of Wisconsin-
Madison. He has published In the Service of the State: The Cinema of
Alexander Dovzhenko and a number of articles on Soviet cinema, and is
currently working on a book on Eisenstein.
Denise J.Youngblood is Assistant Professor of History at the University of
Vermont. Author of Soviet Cinema in the Silent Era, 1918—1935 and a number
of articles on early Soviet film, she is currently working on a book on popular
cinema and Soviet society in the 1920s.