All Outputs (3)

“He’s Not from Our Tribe!”: Jewish and Kabardian Identities in the Post-Soviet Russian Space(s) of Kantemir Balagov’s Closeness (Tesnota, 2017) (2021)
Journal Article
MCGINITY-PEEBLES, A. (2021). “He’s Not from Our Tribe!”: Jewish and Kabardian Identities in the Post-Soviet Russian Space(s) of Kantemir Balagov’s Closeness (Tesnota, 2017). Slavic and East European Journal, 65(4), 681-700

Closeness (Tesnota, dir. Kantemir Balagov, 2017), is a striking example of contemporary Russian cinema due to its sustained focus on two groups of ethnic “others” (Jews and Kabardians) living in one of the poorest and most conflict-ridden areas of Ru... Read More about “He’s Not from Our Tribe!”: Jewish and Kabardian Identities in the Post-Soviet Russian Space(s) of Kantemir Balagov’s Closeness (Tesnota, 2017).

‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film (2021)
Book Chapter
McGinity-Peebles, A. (2021). ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film. In G. Gergely, & S. Hayward (Eds.), The Routledge Companion to European Cinema (394-403). Routledge. https://doi.org/10.4324/9781003027447

Since Putin's third term as president, official discourse of Russian nationhood has become increasingly statist, ethnonationalist, traditionalist and anti-Western in tone and substance. This chapter analyzes the three films, Long and Happy Life, Levi... Read More about ‘We live like swine and die like swine, because we mean nothing to each other’: The little person, the state and nationhood in contemporary Russian film.

Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011) (2021)
Journal Article
McGinity-Peebles, A. (2021). Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011). Film Studies, 22(1), 11-29. https://doi.org/10.7227/fs.22.0002

This article focuses on Angelina Nikonova's debut film Twilight Portrait (Portret v sumerkakh, 2011) and analyses the trajectory of the 'difficult' female protagonist, Marina (Ol'ga Dykhovichnaia), in relation to the spaces she inhabits and reclaims... Read More about Deconstructing Gendered Norms and Reclaiming Gendered Spaces in Angelina Nikonova’s Twilight Portrait (Portret v sumerkakh, 2011).