Professor Birgit Beumers
Professor in Film Studies
BA (Hons) CNAA 1986; DPhil (Oxon) 1991
Office: FS4 Parry-Williams Building
Phone: 01970 622958
Fax: 01970 622831
Professor of Film
MA Film Studies Coordinator
PGR + PGT International Development
FM35920 Experiments in 20th Century Theatre & Film
TFM6020 Screening Cinema
FM35820 Moving Image Technology
FM26120 Once Upon a Time: Fairy Tales & Film
FM34820 World War 2 on Screen
Birgit Beumers specialises in Russian culture, especially theatre and film, as well as Central Asian and European cinema. She has written a monograph on Yuri Lyubimov at the Taganka Theatre; on the filmmaker Nikita Mikhalkov and his Oscar-winning film Burnt by the Sun; and on Russian popular culture. With Mark Lipovetsky, she has co-authored a book on violence in Russian drama and cinema. She is the author of A History of Russian Cinema and has edited and co-edited several volumes on Russian cinema, visual culture and media, including a volume on the filmmaker Alexander Sokurov. During 2007-2009 she held a Leverhulme Research Fellowship and in 2013 she was a Visiting Fellow at the Central European University in Budapest to do research on early Russian and Soviet animation, as well as special effects and technical innovation in Soviet cinema of the first half of the 20th century.
Birgit Beumers was born and raised in Aachen, Germany and came to the UK in 1982 to study English and French Literature at Oxford Polytechnic (now Brookes). She also studied Russian at the universities of Geneva and Paris. After graduation she spent a year in Moscow before she went on to St Antony’s College, Oxford, where she completed her D.Phil on Yuri Lyubimov and the Taganka Theatre. During her postgraduate research she spent time in Russia and worked with Anatoli Vasiliev at the School of Dramatic Art in Moscow. From 1992-94 she held a temporary appointment in the Slavonic Department at the University of Cambridge. In 1994 she joined Bristol University’s Russian Department as lecturer, then senior lecturer and reader. In 2012 she was appointed to a chair in film studies at Aberystwyth.
"To Catch Up and Overtake Disney?". Soviet and Post-Soviet Fairy-Tale Films. In J. Zipes, P. Greenhill, K. Magnus-Johnston (eds), Fairy-Tale Films Beyond Disney: International Perspectives. Taylor & Francis, New York pp. 124-138.2015.
Directory of World Cinema: Russia 2. Intellect, Bristol, Chicago(ed) 2015.
A "Hero of our Time": The Gastarbeiter in Recent Russian Cinema. Zeitschrift für Slavische Philologie 70 (1) pp. 161-178.2014.
World Film Locations: Moscow. Intellect Books - World Film Locations Intellect, Bristol(ed) 2014.
Cinema in Central Asia: Rewriting Cultural Histories. KINO: The Russian Cinema Series I.B. Tauris, London(eds) 2013.
Growing Up in Central Asian Cinema. In M. Rouland, G. Abikeyeva, B. Beumers (eds), Cinema in Central Asia: Rewriting Cultural Histories. KINO: The Russian Cinema Series I.B. Tauris, London pp. 187-198.2013.
Iurii Arabov et le theme de la spiritualité. In M. Poirson-Dechonne (ed), CinemAction: Le cinéma russe, de la perestroika a nos jours. , Paris pp. 117-123.2013.
Russia's New Fin de Siècle: Contemporary Culture Between Past and Present. Intellect, Chicago(ed) 2013.
Russian Cinema. Oxford Bibliographies in Cinema and Media Studies Oxford University Press 10.1093/OBO/9780199791286-01322013.
The Place of Action must not be Changed: Aleksei Balabanov’s St Petersburg. In B. Beumers (ed), Russia’s New Fin de Siècle. University of Chicago Press, Chicago pp. 231-243.2013.
Globalisation, Freedom and the Media after Communism: The Past as Future. Reprintth edn, Taylor & Francis(eds) 2012.
National Identities through Visions of the Past: Contemporary Russian Cinema. In M. Bassin, C. Kelly (eds), Soviet and Post-Soviet Identities. Cambridge University Press, Cambridge pp. 120-153.2012.
And the Ark Sails on... In B. Beumers, N. Condee (eds), The Cinema of Alexander Sokurov. I.B. Tauris2011.
Drama and Theatre. In E. Dobrenko, M. Balina (eds), Cambridge Companion to Twentieth-Century Russian Literature. Cambridge Companions to Literature Cambridge University Press, Cambridge pp. 215-234. 10.1017/CCOL9780521875356.0122011.
Rossiiskaia mul’tiplikatsiia 2009g. Vzliad iz-za rubezha. Khroniki kinoprotsessa 2009. pp. 88-105.2011.
The Cinema of Alexander Sokurov. I.B. Tauris(eds) 2011.
The Post-Soviet Russian Media: Conflicting Signals. BASEES/Routledge Series on Russian and East European Studies Taylor & Francis(eds) 2011.
The Serialization of Culture or the Culture of Serialization. In B. Beumers, S. Hutchings, N. Rulyova (eds), The Post-Soviet Russian Media: Conflicting Signals. Taylor & Francis pp. 159-177.2011.
‘Bog–eto krov’: Teatr i kinematograf Ivana Vyrypaeva. Киноведческие записки 96 pp. 210-224.2011.
Aleksandr Shiryaev: Popravka k istorii animatsii. Киноведческие записки 94 (5) pp. 340-361.2010.
Die Blume im Staub. Das Zeit-Bild in Rustam Chamdamovs Anna Karamazoff: Das Zeit-Bild in Rustam Chamdamovs Anna Karamazoff. In J. Murašov, N. Drubek-Meyer (eds), Das Zeit-Bild im osteuropäischen Film nach 1945. Böhlau, Köln, Weimar, Wien pp. 225-243.2010.
Directory of World Cinema: Russia. Intellect2010.
Nostalgic Journeys in Post-Soviet Cinema: Towards a Lost Home? In D. Berghahn, C. Sternberg (eds), European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Palgrave Macmillan pp. 96-113.2010.
Stage(d) Terror. In A. Anemone (ed), Just Assassins: The Culture of Terrorism in Russia. Northwestern University Press pp. 277-296.2010.
The Performance of Life: Documentary Theater and Film. Russian Review 69 (4) pp. 615-637. 10.1111/j.1467-9434.2010.00584.x2010.
A History of Russian Cinema. Bloomsbury Publishing2009.
Alexander Shiryaev: Master of Movement. Le Giornate del cinema muto(eds) 2009.
Performing Violence: Literary and Theatrical Experiments of New Russian Drama. Intellect2009.
Real images: in memory of Josephine Woll: The Mitten, by Roman Kachanov. Studies in Russian and Soviet Cinema pp. 87-88. 10.1386/srsc.3.1.71_72009.
The Mikhalkov Brothers' View of Russia. In S. Hutchings, A. Vernitskaia (eds), Russian and Soviet Film Adaptations of Literature, 1900-2001: Screening the Word. BASEES/Routledge Series on Russian and East European Studies Taylor & Francis, London pp. 101-127.2009.
The Peculiarities of Russian National Cinema in the Rogozhkin Period. In O. Mesropova, S. Graham (eds), Uncensored? : Reinventing Humor and Satire in Post-Soviet Russia. Slavica Publishers pp. 117-132.2009.
Transforming Animation History. Alexander Shiryaev: Master of Movement. Le Giornate del cinema muto pp. 37-52.2009.
Killers and Gangsters: The Heroes of Russian Blockbusters of the Putin Era. In S. White (ed), Media, Culture and Society in Putin's Russia . Studies in Central and Eastern Europe UKth edn, Palgrave Macmillan pp. 204- 224.2008.
Masiania. In I. Kukulin, M. Lipovetskii, M. Maiofis (eds), Veselye chelovechki: Funny Figures. New Literary Observer pp. 507-524.2008.
Reality Performance: Documentary Trends in Post-Soviet Russian Theatre. Contemporary Theatre Review 18 (3) pp. 293-306. 10.1080/104868008021235832008.
Through the other lens?: Russians on the global screen. In S. Hutchings (ed), Russia and its other(s) on film: Screening intercultural dialogue,. Studies in Central and Eastern Europe Palgrave Macmillan pp. 166-183.2008.
Travma – performans – identichnost'.: Intimnyi teatr Evgeniia Grishkovtsa. In N. Borisova, K. Bogdanov, L. Murashov (eds), SSSR –territoriia liubvi. Novoe izdatel'stvo, Moscow pp. 234-267.2008.
Comforting Creatures in Children’s Cartoons. In M. Balina, L. Rudova (eds), Reading Russian and Soviet Children’s Culture. Taylor & Francis pp. 153-171.2007.
Entries. In T. Smorodinskaya, K. Evans-Romaine, H. Goscilo (eds), Encyclopaedia of Contemporary Russian Culture. Taylor & Francis2007.
The Cinema of Russia and the former Soviet Union (24 Frames). Columbia University Press, London(ed) 2007.
Anatoli Vasiliev. In S. Mitter, M. Shevtsova (eds), Fifty Key Theatre Directors. Taylor & Francis pp. 190-195.2005.
Eimuntas Nekrosius. In S. Mitter, M. Shevtsova (eds), Fifty Key Theatre Directors. Taylor & Francis pp. 227-231.2005.
Pop Culture Russia!: Media, Arts and Lifestyle. Popular Culture in the Contemporary World Greenwood Publishing Group, Santa Barbara (CA)2005.
The Chopping of The Cherry Orchard: Stanislavskii or Chekhov? Essays in Poetics pp. 21-44.2005.
Yuri Lyubimov. In S. Mitter, M. Shevtsova (eds), Fifty Key Theatre Directors. Taylor & Francis pp. 81-86.2005.
Nikita Mikhalkov: 1. KINO- Russian Film-makers' Companions 1stth edn, I.B. Tauris, London2004.
Pop Post-Sots: Mass Musicals in Russia. Slavic and East European Journal 48 (3) pp. 378-395.2004.
Entries. The Oxford Encyclopedia of Theatre and Performance. Oxford University Press 10.1093/acref/9780198601746.001.00012003.
Nina Sadur. In M. Balina, M. Bruccoli, R. Layman (eds), Dictionary of Literary Biographies, Russian Writers since 1980. Cengage Learning pp. 268-276.2003.
Playing with Gogol: Gogol’s texts on the post-Soviet stage. Essays in Poetics pp. 202-220.2003.
Soviet and Russian Blockbusters: A question of genre? Slavic Review 62 (3) pp. 441-454.2003.
Spinning the text: The play with infinity in contemporary Russian theatre. Modern Language Review 97 (1) pp. 135-148.2002.
Burnt by the Sun. KINOfiles Film Companion Re-issueth edn, I.B. Tauris2001.
Post-Revolutionary Theatre. In N. Cornwell, N. Christian (eds), The Routledge Companion to Russian Literature. Taylor & Francis pp. 209-222.2001.
The “blue” stage: Homosexuality in Russian theatre and drama of the 1990s. In P. Barta (ed), Gender and Sexuality in Russian Civilisation. Routledge Harwood Studies in Russian and European Literature 1stth edn, Taylor & Francis pp. 295-309.2001.
Eisenstein: The Battleship Potemkin. In S. Street, J. Forbes (eds), European Cinema: An Introduction. Palgrave Macmillan pp. 53-64.2000.
Entries. In R. Taylor, N. Wood, J. Graffy, D. Iordanova (eds), BFI Companion to Eastern European and Russian Cinema. BFI Publishing, London2000.
Entries. International Dictionary of Films and Filmmakers. St James’s House2000.
Father Frost on 31 December: Christmas and New Year in Soviet and Russian Cinema. Christmas in the Movies. I.B. Tauris, London pp. 185-209.2000.
Mikhalkov: The Barber of Siberia. In S. Street, J. Forbes (eds), European Cinema. Palgrave Macmillan, London pp. 195-206.2000.
Myth-making and myth-taking: Lost Ideals and the War in Contemporary Russian Cinema. Canadian Slavonic Papers 42 (1-2) pp. 171-189.2000.
Cinemarket, or the Russian Film Industry in “Mission Possible”. Europe-Asia Studies 51 (5) pp. 871-896. 10.1080/096681399987501999.
Introduction. In B. Beumers (ed), Russia on Reels: The Russian Idea in Post-Soviet Cinema. KINO: The Russian Cinema Series I.B. Tauris pp. 1-11.1999.
Russia on Reels: The Russian Idea in Post-Soviet Cinema. KINO: The Russian Cinema Series Firstth edn, I.B. Tauris(ed) 1999.
The “thaw” and after, 1953-1986. In R. Leach, V. Borovsky (eds), A History of Russian Theatre. Cambridge University Press pp. 358-381.1999.
To Moscow! To Moscow? The Russian Hero and the Loss of the Centre. In B. Beumers (ed), Russia on Reels: The Russian Idea in Post-Soviet Cinema. KINO: The Russian Cinema Series I.B. Tauris pp. 76-87.1999.
Entries. Entsiklopediia kino. , Moscow1998.
Performing Culture: Theatre. In C. Kelly, D. Shepherd (eds), Russian Cultural Studies: An Introduction. Oxford University Press pp. 91-108.1998.
Post-Revolutionary Russian Theatre. In N. Cornwell, N. Christian (eds), Reference Guide to Russian Literature. Taylor & Francis, London pp. 45-49.1998.
Russian History in Film: From perestroika into the 1990s. History and the Memory of the Past in Abuladze's Repentance and Mikhalkov's Burnt by the Sun. In F. Brinkhuis, S. Talmor (eds), Memory, History and Critique. European Identity at the Millennium: Proceedings of the 6th International ISSEI Conference at the University for Humanist Studies. International Society for the Study of European Ideas1998.
La politique contre l'art à la Taganka. In B. Picon-Vallin (ed), Lioubimov: La Taganka. Les Voies de la création théâtrale CNRS Éditions, Paris pp. 63-95.1997.
Le vivant: Thème paysan et spectacle-mythe. In B. Picon-Vallin (ed), Lioubimov: La Taganka. Les Voies de la création théâtrale CNRS Éditions, Paris pp. 265-291.1997.
Yury Lyubimov at the Taganka Theatre 1964-1994. Taylor & Francis1997.
Commercial Enterprise on the Stage: Changes in Russian Theatre Management between 1986 and 1996. Europe-Asia Studies 48 (8) pp. 1403-1416. 10.1080/096681396084124191996.