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Publications:  Prof Jeremy Hicks

HICKS JG(2019). ‘Paradise,’ (Andrei Konchalovsky). The Russian Cinema Reader: Contemporary Russian Cinema (2005-2016), Editors: Salys, R, Academic Studies Press, forthcoming 2019 (Brighton: MA),
HICKS JG(2019). Aid, Appropriation and Amnesia: Documentary Film and The Arctic Convoys of World War Two. Arctic Cinema and the Documentary Ethos, Editors: Kaganovsky, L, McKenzie, S, Stenport, A, University of Indiana Press (Bloomington),
HICKS JG(2019). Soviet Journalists at Nuremberg: Establishing the Soviet War Narrative. Stalin's Soviet Justice: ‘Show’ Trials, War Crimes Trials, and Nuremberg, Editors: Crowe, DM, Bloomsbury Academic (London),
HICKS JG(2018). Kul´t lichnosti v fil´makh Mikhaila Romma. International Journal of Cultural Research (Mezhdunarodnyi zhurnal isledovanii kul´tury) vol. 2(3), 83-91.
HICKS JG(2018). Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens. Connexe, Les espaces postcommunistes en question(s) (3) 113-132.
HICKS JG(2018). Bewegte und unbewegte Blicke der Toten: Aus der Warchauer Ghetto und Charkiv. Bildformeln: Visuelle Erinnerungskulturen in Osteuropa, Editors: Frank, SK, transcript Verlag (Bielefeld),
HICKS JG(2017). A Holy Relic of War: The Soviet Victory Banner as Artefact. Remembering the Second World War, Editors: Finney, P, Routledge (London),
HICKS JG(2016). Appropriating the presence of history: raising the victory banner over the Reichstag. Screen (Oxford) vol. 57, (3) 362-370.
WESTWELL GR, Hicks J, Saxton E(2016). Rising Flags, Falling Soldiers: Film, Icons and Political Violence. Screen (Oxford)
HICKS JG(2016). Soiuzdetfil´m Studios, The Birth of Soviet Children’s Film, and the Child Actor. Willey-Blackwell Companion to Russian Cinema, Willey-Blackwell (Oxford),
HICKS JG(2014). Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust. Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989: Re-Visions, Editors: Bahun, S, Haynes, J, Routledge (London and New York),
HICKS JG(2014). Challenging the Voice-of-God in Soviet Documentaries of World War II. Sound/ Music/ Speech in Soviet and Post-Soviet Cinema, Editors: Kaganovsky, L, Salazkina, M, Indiana University Press (Bloomington),
Hicks J(2014). The phantom holocaust: Soviet cinema and jewish catastrophe by olga gershenson (review). Ab Imperio vol. 2014, (3) 495-501.
HICKS JG(2013). ‘“Soul Destroyers” – Soviet Journalism on the Krasnodar and Kharkov trials,’. History: the journal of the Historical Association vol. 98, (332) 530-547.
HICKS JG(2013). "Too Gruesome to be Fully Taken in": Konstantin Simonov’s “The Extermination Camp” As Holocaust Literature. The Russian Review: an American quarterly devoted to Russia past and present vol. 72, (2) 242-259.
Hicks J(2013). Challenging the voice of god in world war II-Era Soviet documentaries. Sound, Speech, Music in Soviet and Post-Soviet Cinema,
Hicks J(2012). First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46. University of Pittsburgh Press (Pittsburgh),
HICKS JG(2012). The Archipelago of Gulag Film. When the Elephant Broke Out of the Zoo: A Festschrift for Donald Rayfield, Editors: Schonle, A, Makarova, O, Hicks, JG, Stanford Slavic Studies (Stanford),
HICKS JG(2012). «Les Morts ne mentent pas» : le cinéma soviétique, la Shoah et le procès de Nuremberg. Kinojudaica: l’image des Juifs dans le cinéma russe et soviétique des années 1910 aux années 1960, Editors: Pozner, V, Laurent, N, Noveau monde (Paris),
HICKS JG(2012). ‘El juicio de los pueblos: los muertos nunca mienten,’. Archivos de la filmoteca (70) 29-42.
HICKS JG(2011). Sokurov’s Documentaries. The Cinema of Alexander Sokurov, Editors: Beumers, B, Condee, N, IB Tauris (London and New York),
HICKS J(2011). From Atrocity to Action: How Soviet Cinema Initiated the Holocaust Film. Justice, Politics, and Memory in Europe after the Second World War: Landscapes After Battle, Editors: Cesarani, D, vol. Vol. 2, Vallentine Mitchell (Edgware),
HICKS JG(2009). Confronting the Holocaust: Mark Donskoi’s The Unvanquished. Studies in Russian and Soviet Cinema vol. 3, (1) 33-51.
HICKS J(2009). Confronting the Holocaust: Mark Donskoi’s The Unvanquished,. Studies in Russian Soviet Cinema vol. 3, (1) 33-51.
Hicks J (2009). The Vertov Collection at the Austrian Film Museum. vol. 87, is. 1, pp. 119-120.
HICKS JG(2008). Lost in Translation? Did Sound stop Soviet Films finding Foreign Audiences?. Russia and Its Other(s) on Film: Screening Intercultural Dialogue, Editors: Hutchings, S, Palgrave Macmillan
Hicks J(2007). Worker correspondents: Between journalism and literature. RUSS REV vol. 66, (4) 568-585.
HICKS JG(2006). From Conduits to Commanders: Shifting Views of Worker Correspondents, 1924-26. Revolutionary Russia vol. 19, (2) 131-149.
HICKS JG(2006). Dziga Vertov: Defining Documentary. IB Tauris (London),
Hicks J(2005). The international reception of early Soviet sound cinema: Chapaev in Britain and America. HIST J FILM RADIO TV vol. 25, (2) 273-289.
Hicks J(2004). Educating Chapaev: From document to myth. Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the Word,
Hicks J (2004). Visions of a new land: Soviet film from the Revolution to the Second World War. vol. 99, pp. 1127-1128.
Hicks J (2004). Zoshchenko and the Ilf-Petrov partnership: How they laughed. vol. 82, is. 4, pp. 949-950.
Hicks J (2004). Against the grain: Parody, satire, and intertextiuality in Russian literature. vol. 63, is. 3, pp. 681-682.
HICKS JG(2004). Educating Chapaev: From Document to Myth. Russian and Soviet Film Adaptations of Literature, 1900-2001, Editors: Hutchings, S, Vernitski, A, Routledge Curzon (London),
Hicks J(2003). Vsevolod Pudovkin: Classic films of the Soviet avant-garde. MOD LANG REV vol. 98, 1070-1071.
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