Denise J Youngblood
Biographic Data
| ID | 951214 |
|---|---|
| NAME | Denise J Youngblood |
| GIVEN NAMES | Denise J |
| FAMILY NAME | Youngblood |
| SIGNATURE | YOUNGBLOOD D J |
| AFFILIATIONS | University of Vermont |
| VERIFIED | No |
| TOTAL WORKS | 36 |
| TOTAL CITATIONS | 18 |
| WORKS AS AUTHOR | 36 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1980 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Studying Unmade, Unseen, and Unreleased film and television
Analysis of ‘unmade, unseen, and unreleased’ film and television has previously been the domain of scholars who focus on cultural production in politically repressive, typically communist, societie
Winning Women's Hearts and Minds
Over the past 25 years, we have seen a proliferation of exciting new perspectives on the Cold War that have both broadened and deepened our understanding of it as a global phenomenon of remarkable complexity. Historian Diana Cucuz's Winning Women's Hearts and Minds, a deeply researched and fascinating discussion of the gendered nature of the U.S. propaganda war in the 1950s and 1960s, is a welcome addition to the revisionist canon. Through her pa…
Russians at the Gates
This article analyzes two recent streaming series—the third season of Tom Clancy's Jack Ryan (Prime, USA, 2022) and the limited series Treason (Netflix, UK, 2022)—as aspects of “Cold War II,” the increasingly common term for the resurgence of anti-Russian attitudes and stereotypes in Anglophone cinema and television that has been apparent since 2010. These two series reflect a shared fear of Russians and offer interesting and illuminating points …
Russian TV Series in the Era of Transition
"Russian TV Series in the Era of Transition: Genres, Technologies, Identities." Historical Journal of Film, Radio and Television, 42(3), pp. 627–628
Cold War Sport, Film, and Propaganda
Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. a…
Cinematic Cold War
The Admiral
Moscow Prime Time
Robert V. Daniels, 1926-2010
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A Chronicle for Our Time
The Cosmopolitan and the Patriot
Wings, Women, & War
Repentance
Tengiz Abuladze’s allegorical film, made in Georgia, is the best known film of the perestroika and glasnost years. With its outspoken and controversial reference to the Stalin era and Stalin's place in the Soviet psyche, ‘Repentance’ was originally shelved but ultimately released in 1986 to widespread popular and critical acclaim. This _KINOfile_ investigates the production, context and critical reception of the film, the people who made it, and …
A War Remembered
The Magic Mirror
The Magic Mirror
A Dance with Death
Early cinema in Russia and America
Film Research in Moscow, April 1995
From the Film Review Editor
Post-Stalinist cinema and the myth of world war II
(1994). Post-Stalinist cinema and the myth of world war II: Tarkovskii's ‘Ivan's childhood’ (1962) and Klimov's ‘come and see’ (1985). Historical Journal of Film, Radio and Television: Vol. 14, No. 4, pp. 413-419
Movies for the Masses
The Cinema of Eisenstein
Wandering Stars
Movies for the Masses
Introduction Part I. Contexts: I. A historical overview 'from below' 2. The entertainment or enlightenment debate 3. The inostranshchina in Soviet cinema Part II. Practice: 4. Genres and hits 5. Images and stars 6. Iakov Protazanov, the 'Russian Griffith' Part III. Alternatives: 7. Boris Barnet, Soviet actor/Soviet director 8. Fridrikh Ermler and the social problem film 9. For workers and peasants only - factory and tractor films Conclusion
Moscow Prime Time
Art, Society, Revolution
Cold War Sport, Film, and Propaganda
Films and sports played central roles in Cold War popular culture. Each helped set ideological agendas domestically and internationally while serving as powerful substitutes for direct superpower conflict. This article brings film and sport together by offering the first comparative analysis of how U.S. and Soviet cinema used sport as an instrument of propaganda during the Cold War. The article explores the different propaganda styles that U.S. a…
The Amerikanshchina in Soviet Cinema
Essays on Revolutionary Culture and Stalinism
The Fate of Soviet Popular Cinema during the Stalin Revolution
In March 1928, the Communist Party of the Soviet Union held its first all-union conference on cinema affairs. The minutes were published in a hefty volume of more than 450 closely set pages.1 What strikes the reader of these pages more than sixty years later, even one familiar with the institutional and theoretical evolution of Soviet cinema in its first decade, is the obscurity of the debates and their rancorous tone. But what is equally surpris…
The Politics of the Soviet Cinema, 1917-1929
Art, Society, Revolution
In the Service of the State
The Film Factory
This volume provides a comprehensive documentary history of Russian and Soviet cinema. It provokes a major reassessment of conventional Western understanding of Soviet cinema. Based on extensive research and in original translation, the documents selected illustrate both the aesthetic and political development of Russian and Soviet cinema, from its beginnings as a fairground novelty in 1896 to its emergence as a mass medium of entertainment and p…
Constructivism in Film
History’ on Film
The Fate of Soviet Popular Cinema during the Stalin Revolution
In March 1928, the Communist Party of the Soviet Union held its first all-union conference on cinema affairs. The minutes were published in a hefty volume of more than 450 closely set pages.1 What strikes the reader of these pages more than sixty years later, even one familiar with the institutional and theoretical evolution of Soviet cinema in its first decade, is the obscurity of the debates and their rancorous tone. But what is equally surpris…
The Amerikanshchina in Soviet Cinema
Essays on Revolutionary Culture and Stalinism
The Glasnost Film Festival
Aelita
From the Film Review Editor
Post-Stalinist cinema and the myth of world war II
(1994). Post-Stalinist cinema and the myth of world war II: Tarkovskii's ‘Ivan's childhood’ (1962) and Klimov's ‘come and see’ (1985). Historical Journal of Film, Radio and Television: Vol. 14, No. 4, pp. 413-419
Movies for the Masses
The Cinema of Eisenstein
Wandering Stars
Movies for the Masses
Introduction Part I. Contexts: I. A historical overview 'from below' 2. The entertainment or enlightenment debate 3. The inostranshchina in Soviet cinema Part II. Practice: 4. Genres and hits 5. Images and stars 6. Iakov Protazanov, the 'Russian Griffith' Part III. Alternatives: 7. Boris Barnet, Soviet actor/Soviet director 8. Fridrikh Ermler and the social problem film 9. For workers and peasants only - factory and tractor films Conclusion
Film Research in Moscow, April 1995
A Dance with Death
Early cinema in Russia and America
The Magic Mirror
The Magic Mirror
Repentance
Tengiz Abuladze’s allegorical film, made in Georgia, is the best known film of the perestroika and glasnost years. With its outspoken and controversial reference to the Stalin era and Stalin's place in the Soviet psyche, ‘Repentance’ was originally shelved but ultimately released in 1986 to widespread popular and critical acclaim. This _KINOfile_ investigates the production, context and critical reception of the film, the people who made it, and …
A War Remembered
Wings, Women, & War
Political science (21 works) · Art (18 works) · History (15 works) · Movie theater (15 works) · Eastern European Communism and Reforms (14 works) · European history and politics (14 works) · Cinema and Media Studies (13 works) · Law (11 works) · Art history (10 works) · Literature (9 works)