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  • Features
    Recent
    • American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project

      Anastasia Kostina
      October 2019
      Issue 92
    • Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy

      Anastasia Kostina
      October 2019
      Issue 92
    • Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

      Anastasia Kostina
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Anastasia Kostina
      October 2019
      Issue 92
    more articles...
    Random
    • “The People Are Missing”: New Refugee Documentaries and Carceral Humanitarianism

      Anastasia Kostina
      March 2019
      Feature Articles
      Issue 90
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

      Anastasia Kostina
      October 2019
      Issue 92
    • This Is the Way the World Ends: The 10th Odesa Film Festival

      Anastasia Kostina
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

      Anastasia Kostina
      October 2019
      Issue 92
    • Sharing My Journey: Women and the 2019 Toronto International Film Festival

      Anastasia Kostina
      October 2019
      Issue 92
    more articles...
    Random
    • Ambling Along The Long Horizon of History: The 24th Il Cinema Ritrovato

      Anastasia Kostina
      October 2010
      Festival Reports
      Issue 56
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

      Anastasia Kostina
      October 2019
      Issue 92
    • From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan

      Anastasia Kostina
      October 2019
      Issue 92
    • “Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

      Anastasia Kostina
      October 2019
      Issue 92
    • Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach

      Anastasia Kostina
      July 2019
      Issue 91
    more articles...
    Random
    • Subjectivity, Spectatorship and Social Change: The Act of Documenting: Documentary Film in the 21st Century, by Brian Winston, Gail Vanstone and Wang Chi

      Anastasia Kostina
      June 2018
      Book Reviews
      Issue 87
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

      Anastasia Kostina
      October 2019
      Issue 92
    • “Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

      Anastasia Kostina
      October 2019
      Issue 92
    • Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011)

      Anastasia Kostina
      October 2019
      Issue 92
    • Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

      Anastasia Kostina
      October 2019
      Issue 92
    more articles...
    Random
    • Voices With(out) a Face: On Robert Bresson’s Procès de Jeanne d’Arc

      Anastasia Kostina
      March 2012
      Cinémathèque Annotations on Film
      Issue 62
  • Great Directors
    Recent
    • Fei Mu

      Anastasia Kostina
      October 2019
      Issue 92
    • Huston, John

      Anastasia Kostina
      July 2019
      Issue 91
    • Stone, Oliver

      Anastasia Kostina
      July 2019
      Issue 91
    • Klapisch, Cédric

      Anastasia Kostina
      March 2019
      Issue 90
    more articles...
    Random
    • Gorin, Jean-Pierre

      Anastasia Kostina
      January 2003
      Great Directors
      Issue 24
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Author Anastasia Kostina

Anastasia Kostina

Anastasia Kostina is a PhD student in the joint program in Film and Media Studies & Slavic Languages and Literatures at Yale University. Anastasia’s academic interests lie within documentary history and theory with particular focus on the relationships between documentary and ideology. Prior to joining Yale University, Anastasia worked as a documentary film editor for the state-sponsored Russian news TV-channel RT.

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1927: The Fall of the Romanov Dynasty (Esfir Shub)

Anastasia Kostina
December 2017
100 Years of Soviet Cinema
Issue 85
Compiling History for Masses: The Fall of the Romanov Dynasty In August 1926, Sovkino, the Soviet state body in control of cinema production, commissioned Esfir Shub to make a film commemorating the tenth...

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