Elena I. Monastireva-Ansdell

Assistant Professor of Russian

Office: Lovejoy 447 [ campus map ]
Box 4400

Phone: 207-859-4451
Fax: 207-859-4405
Mailing Address:
4400 Mayflower Hill
Waterville, Maine 04901-8844
Monastireva-Ansdell, Elena I.

Education

Piatigorsk Linguistic University, University of Iowa, Indiana University Bloomington

Areas of Expertise

  • Literature, cinema, and culture of twentieth- and twenty-first century Russia
  • Central Asian and East European cinema
  • Constructions of gender, ethnicity, and nationality
  • Soviet national mythology in Stalinist, Thaw, and Putin-era cinema

Courses Currently Teaching

CourseCourse Title
RU127 AIntermediate Russian I
RU128 AIntermediate Russian II
RU242 AMake Russia Great Again: Post-Communist Cinema (in English)
RU326 AConversation and Composition: Personal ID in 20th-Century Literature
RU427 APersonal Identity in 20th-Century Russian Literature

Other Courses Taught

CourseCourse Title
RU242Back to the Future: Recent Russian Cinema
RU242Ethnic Wars and Peace in (Post-)Soviet Cinema
RU297Destiny and Chance: The Cinema of Krzysztof Kieslowski
RU232Engineering Human Souls: Stalinist Culture and Russian Society
RU120Russia in Film and Myth

Current Research

Visual representations of the Russian empire and the ethnic/terrorist other; Post-Soviet post-colonialisms in Central Asia; Depictions of Central Asian migrant workers in contemporary Russian cinema; Interrelation between culture and politics

Publications


"Postcolonial Ecologies in Soviet and post-Soviet Cinema." In progress.

"Electricity Within: Islam, pre-Islamic traditions, and Secular Forms of Belief in Contemporary Kyrgyz Cinema."
Under Review in Studies in Russian and Soviet Cinema.

“First/Last Teacher: Recasting Soviet Legacies in Contemporary Kyrgyz Cinema.”
The Russian Review, 79 (July 2020)

“Renegotiating the ‘Communal Apartment’: Migration and Identity in Soviet and Contemporary Eurasian Cinema.”
Studies in Russian and Soviet Cinema, Volume 11, Issue 3, 2017

“Re/framing the ‘Good Russian Prisoner’: Challenges of Postcolonial Reassessment in Aleksandr Rogozhkin’s Checkpoint.”
The Russian Review, 76 (January 2017)

“His Majesty’s Aide (1969).”
Birgit Beumers, ed. Directory of World Cinema: Russia 2. Bristol, UK: Intellect, 2015

“Trapped in the Prisoner Scenario: The First Chechen War and Sergei Bodrov’s Prisoner of the Mountains.”
Studies in Russian and Soviet Cinema, Volume 8, Issue 2, 2014

“Soviet Structuring Myths in The Commissar.”
Rimgaila Salys, ed. The Russian Cinema Reader: Volume II, The Thaw to the Present. Boston: Academic Studies Press, 2013.

“Redressing the Commissar: Thaw Cinema Revisits Soviet Structuring Myths.”
Lawrence Baron, ed. Modern Jewish Experiences in World Cinema, Brandeis University Press, 2011

“Redressing the Commissar: Thaw Cinema Revises Soviet Structuring Myths.”
The Russian Review, Volume 65/ Number 2 (April 2006)

PUBLICATIONS IN REFEREED ONLINE JOURNALS

“Women without Men: Labor Migration and Uzbek Society in Umid Khamdamov’s Hot bread (2019).” Forthcoming in KinoKultura, Issue 70 (September), 2020

“A Keeper of Light: Ermek Tursunov’s The Projectionist (2018) Spreads the Gospel of Cinema in Post-World War Two Kazakhstan.” KinoKultura: A Journal of New Russian Cinema, Issue 65 (July), 2019. Http://www.kinokultura.com/2019/65r-kinomekhanik.shtml

“Between the Feminist and the Harem: Patriotism, Empire, and Masculinity in Alena Zvantsova’s The Norseman (2015).” KinoKultura, Issue 61, 2018.
Http://www.kinokultura.com/2018/issue61.shtml

“Falling and Burning and Flying Again: Alena Davydova’s Ivan (2016).”
KinoKultura, Issue 56, 2017. Http://www.kinokultura.com/2017/56r-ivan.shtml

“A Daughter Worth Ten Sons: Kurmanjan Datka (2014) Models Leadership and National Identity for Contemporary Kyrgyzstan.”
KinoKultura, 49, 2015. Http://www.kinokultura.com/2015/49r-kurmanjan-datka.shtml

“Big Dreams and Big Love: Russia and Her Migrants in Larisa Sadilova’s She/Ona (2012).” KinoKultura, Issue 44, 2014. Http://www.kinokultura.com/2014/44r-ona.shtml

“Love Thy Viewer: Aleksandr Gordon’s Brothel Lights (2011), a film for a ‘broad yet deep audience’.” KinoKultura, Issue 37, 2012. Http://www.kinokultura.com/2012/37r-ognipritona.shtml

“Life for the Land: Yurii Feting’s Bibinur and the Genre of the Parable.”
KinoKultura, Issue 31, 2011. Http://www.kinokultura.com/2011/31r-bibinur.shtml

“Holy Fools, Nuns and Witches: Gender and Spirituality in Vera Storozheva’s Spring Is Almost Here.” KinoKultura, Issue 27, 2010. Http://www.kinokultura.com/2010/27r-skorovesna.shtml

“This Is No Mirage, This Is a War”: Degeneration of the Soviet ‘Eastern’ Tradition in Keosaian’s Mirage.” KinoKultura, Issue 24, 2009. Http://www.kinokultura.com/2009/24r-mirage.shtml

“One Size Does Not Fit All: Trains, Fashions, Mammals, and the Meaning of Life in Vera Storozheva’s Film Traveling with Pets.” KinoKultura, January 2008. Http://www.kinokultura.com/2008/19r-puteshestvie.shtml

“Lenin, Lovers, and Excess: Stalinist Past, Thaw Story, and Putin’s Russia in Andrei Eshpai’s Ellipsis.” KinoKultura, July 2007. Http://www.kinokultura.com/2007/17r-mnogotochie.shtml

“Staying Alive in the Age of Blockbusters: War, Youth, Popular Culture, and Moral Survival in Aleksandr Veledinsky’s Film.” KinoKultura, January 2007. Http://www.kinokultura.com/2007/15r-alive.shtml

“Where Motherland Begins: Andrei Kravchuk’s The Italian (2005).”
KinoKultura, January 2006. Http://www.kinokultura.com/2006/11r-italian.shtml

“Karen Shakhnazarov’s A Rider Named Death (2004).” KinoKultura, April 2005. Http://www.kinokultura.com/reviews/R4-05vsadnik.html

“Andrei Proshkin’s The Play of Butterflies (2004).” KinoKultura, October 2004. Http://www.kinokultura.com/reviews/R104motylki.html

 


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