Russian Film Symposium 2004
Participants

Anemone received his B.A. from Columbia University and Ph.D. from the University of California at Berkeley, and has taught Russian language, literature, film and Cultural Studies at William and Mary since 1992. In addition to numerous articles on Russian literature (e.g., Konstantin Vaginov, Mikhail Bakhtin, Daniil Kharms, Boris Poplavsky, Nabokov, Tolstoy) and culture (The Kunstkamera of Peter the Great), Anemone has recently written essays on the films of Aleksei Balabanov and Aleksandr Sokurov's Russian Ark.

Adele Barker is Professor of Russian and Cultural Studies at the University of Arizona. She is the editor of Consuming Russia: Popular Culture, Sex and Society since Gorbachev (Duke, 1999), and most recently with Jehanne Gheith edited The Cambridge History of Women's Writing in Russia. She works on Soviet and post-Soviet popular culture.

Sergei Chlyants began his career as a film director in the Odyssey Film Studio, where he shot his only film, In A Straight Line (1992). He subsequently served as the General Producer for Gor'kii Film Studio during the mid-1990s, where he produced Nikolai Lebedev's Snake Source (1997) and Natal'ia P'iankova's A Strange Time (1997). He also served as the General Director of Soiuzkino, an association of film producers. Among the films he has produced are: Roman Kachanov's Down House (2001), Aleksandr Khvan's Carmen (2003), Il'ia Khotinenko's The Odyssey 1989—The Wise Guy (2002), and Aleksandr Shein's The Mixer (2001). He is currently producing Kira Muratova's newest film, The Tuner.

Yevgeny Gindilis graduated from the Geography Department at Moscow State University in 1988, after which he worked as an editor in the Museum of Cinema (1989-90). He studied in the United States for several years, graduating from New York University's Department of Film History and Theory at the Tisch School in 1994. He has worked for television broadcast stations in the US and Russia. Since 1998 he is the director of international projects for NTV-Profit.

Mikhail Iampol'skii worked for 17 years at the Institute of Cinema Studies in Moscow, and for a shorter time at the Institute of Philosophy in the same city. He spent a year at the Getty Center for the History of Arts and the Humanities and, since 1992, has taught at NYU, first Film and Performance Studies, and now Comparative Literature and Russian Studies. Among his books are The Visible World: Notes on Early Cinematography, Moscow, 1993; Demon and the Labyrinth: Diagrams, Deformations, Mimesis, Moscow, 1996; Delerium as Source: Reading Kharms, Moscow, 1998; and The Memory of Tiresias: Intertextuality and Film, Berkely, 1998. He is also the author of over 300 articles.

Mr Iampol'skii's has recently published O blizkom (ocherki nemimeticheskogo zreniia). Moscow: Novoe literturnoe obozrenie, 2001.

Susan Larsen's most recent publications on contemporary Russian cinema focus on issues of gender and national identity.

Nepa Majumdar earned her PhD in Comparative Literature and Film Studies at Indiana University-Bloomington in June 2001. Her dissertation, "Female Stardom and Cinema in India, 1930s to 1950s," was a co-winner of the Society for Cinema Studies "Outstanding Dissertation Award" for 2002. Her publications include "The Embodied Voice: Stardom and Song Sequences in Popular Hindi Cinema" (in Soundtrack Available: Essays on Film and Popular Music), "Doubling, Stardom, and Melodrama in Indian Cinema: The Impossible Role of Nargis," (forthcoming in Post Script), and "Pather Panchali: From Neorealism to Melodrama" (forthcoming in Film Analysis: A Norton Reader).

Alexander Prokhorov teaches Russian literature and film at the Department of Modern Languages and Literatures, the College of William and Mary. He is an author of several articles on Russian film and literary history.

Elena Prokhorova teaches Russian film, media, and literature in the Department of Modern Languages and Literatures, College of William and Mary. She has recently defended her dissertation on Brezhnev-era TV mini-series. Elena is the author of a number of articles on Soviet and post-Soviet visual culture.

Elena Stishova has established herself as one of the most important Russian researchers in the areas of feminist film studies and continues to work on a wide range of issues in cinema. She is the author of the books The Near Past (1989) and Look Who's Here! (1989). Her articles have appeared in major film journals both in Russia and abroad, and she has been an invited speaker at numerous international symposia and conferences.

Oleg Sul'kin is a graduate of the Moscow State University (1974), where he majored in art history and theory. He worked for the Novosti Press Agency and Sovetskii Ekran magazine as a reporter and film critic. He was editor-in-chief of Soviet Film magazine. He has written several books, brochures, and hundreds of articles about film, theatre and visual arts. Since 1995, when he moved with his family to the USA, he works as a staff writer for Novoye Russkoye Slovo, a Russian daily newspaper based in New York. Since 1999 – a host of the weekly FilmHour program on the People's Wave Russian-American radio station in New York.

Neia Zorkaia graduated from GITIS in 1948, received her Kandidatskaia degree in 1951 and holds the Doktorskaia degree in Art Studies. She is the Chief Research Scholar at the Institute for Art Studies. She is the author of Between Past and Present: Notes on Western Film Art (1961), The Contemporary Historical-Revolutionary (1962), Portraits (1966), On the Borders of the Centuries: The Sources of Mass Art in Russia, 1900-1910 (1976), Illustrated History of Soviet Cinema (1989), Folklore, Lubok, Screen (1994), The Whirling, Twirling Sphere of Blue (1998).

Nancy Condee's undergraduate and graduate work was done at Columbia, Brown, and Yale Universities, with research semesters at Leningrad State University, Moscow State University, and the Gor'kii Institute of World Literature. She has worked as a consultant for US and British cultural exchanges, festivals, and projects, including the Edinburgh Festival (UK), Public Broadcasting Service (Frontline), the Library of Congress, the San Francisco Film Festival, National Film Theatre (UK), and the Massachusetts Council on the Arts and Humanities. Together with Vladimir Padunov, she directed the Working Group on Contemporary Russian Culture (1990-93), supported by the American Council of Learned Societies and the Social Science Research Council.

Her work has appeared in scholarly and popular publications in the US (The Nation, Washington Post October), Russia (Iskusstvo kino, Znamia, Voprosy literatury, Rodnik), and the UK (New Formations, Framework. New Left Review). Her research area is contemporary (post-1964) Russian culture, with an emphasis on film, literature, and popular culture (Russian tattoos, the women's public baths, mumiyo).

Recent Publications

• "Uncles, Deviance, and Ritual Combat: The Cultural Codes of Khrushchev's Thaw." The Khrushchev Era: A Reappraisal. Ed. Abbott Gleason and William Taubman. New Haven: Yale UP, in press.
• Endquote: Literary Sots-Art and Soviet Grand Style (Northwestern UP, 2000) with Marina Balina and Evgeny Dobrenko
• "The Dream of Well-Being." Article on contemporary Russian film industry. Sight and Sound (UK) 7.12 (December 1997): 18-21.
• Soviet Hieroglyphics: Visual Culture in Late Twentieth-Century Russia. Nancy Condee, ed. Bloomington/London: Indiana UP and British Film Institute, 1995.
• "The Relentless Cult of Novelty, or How to Wreck the Century: Rethinking Soviet Studies." Beyond Soviet Studies. Ed. Daniel Orlovsky. Baltimore: Johns Hopkins UP, 1995. 285-304.

Gerald McCausland holds degrees from Middlebury College (BA, Political Science; MA Russian) and the University of Massachusetts at Amherst (MA, German). His research interests include contemporary Russian culture and critical theory, with particular emphasis on post-Soviet subjectivity and its role in the formation of national identities. His publications include articles on Vladimir Sorokin, Viktor Pelevin, and Andrei Platonov, and he is currently working toward completion of his PhD dissertation: The Post-Soviet Condition: Cultural Reconfigurations of Russian National Identity, at the University of Pittsburgh.

Padunov received his B.A. from Brooklyn College, and his M.A. and Ph.D. in Comparative Literature at Cornell University. He has taught at the University of Iowa and Hunter College, as well as in Germany and Russia.

Together with Nancy Condee, he directed the Working Group on Contemporary Russian Culture (1990-93), supported by the American Council of Learned Societies and the Social Science Research Council. His work has been published in the US (The Nation, October, WideAngle), the UK (Framework, New Left Review, New Formations), and Russia (Voprosy literatury, Znamia, Iskusstvo kino). His areas of research include Russian visual culture, narrative history and theory, film history.

Recent publications

• "Views of the Present As Visions of the Past," Iskusstvo kino 10, 1996;
• "'Large Loose Baggy Monsters': The Poetics of Excess in Contemporary Russian Culture" in Russian Literature of the XX Century: Directions and Tendencies (Ekaterinburg: Ural State Pedagogical University, 1996);
• "History and Identity in Recent Russian Cinema" in Beyond Perestroika: Jews and History in the Global Village (NY: The Jewish Museum and the Film Society of Lincoln Center, 1995).
• Dostoevsky's "The Demons" and the Form of Tendentious Narration (1995).
• "Makulakul'tura," with Nancy Condee, Russian Culture in Transition (Stanford Slavic Studies, 1993)
• "Perestroika Suicide: Not by bred Alone," with Nancy Condee (Russian Culture in Transition, Stanford Slavic Studies, 1993)

Daniel H. Wild is a doctoral candidate in the Department of English at the University of Pittsburgh where he is completing his dissertation The Writing on the Screen: Images of Text in the German Cinema from the 1920s to 1950s. He has taught film courses at the University of Pittsburgh and at Pittsburgh Filmmakers. He has been published in Ellen Bishop (ed.), Cinema-(to)-Graphy: Film and Writing in Contemporary Composition Courses (Heinemann 1999) and in various art publications in collaboration with the Dresden multi-media group Bewegung Nurr. In 2000 he served as the curator for the European Cinema Film Series at the Carnegie Museum of Art.