School of Languages, Linguistics and Film

Professor Jeremy Hicks


Professor of Russian Culture and Film Head of the Department of Modern Languages and Cultures

Telephone: +44 (0)20 7882 8306
Room Number: Arts One 243


I received a PhD from SSEES-UCL in 2000, and have been teaching at Queen Mary since 1998. My teaching has been consistently rated among the highest in QMUL for student satisfaction, and I became a Fellow of the Higher Education Academy in 2016. My research is hightly regarded: I received the 2012 US Slavists' (ASEEES) Vucinich prize for the most important contribution to the field.



Research Interests:

Soviet film and World War Two

Soviet Film and the Holocaust

Russian and Soviet Documentary Film

Dziga Vertov

Reception of Soviet film in the West (1920s-40s)

Mikhail Zoshchenko, Soviet literature (1920s-40s)



First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46, Pittsburgh: University of Pittsburgh Press, 2012. [Russian version of chapter one, chapter five]

Dziga Vertov: Defining Documentary Film, London and New York: I.B. Tauris, 2007.

Mikhail Zoshchenko, The Galosh: Selected Short Stories, London: Angel Books, 2000 [selection, translation, introduction and notes]. [US hardback edition, New York: Overlook Press, 2006; paperback 2009].

Mikhail Zoshchenko and the Poetics of Skaz, Nottingham: Astra Press, 2000.



‘Aid, Appropriation and Amnesia: Documentary Film and The Arctic Convoys of World War Two,’ in Lilya Kaganovsky, Scott McKenzie and Anna Stenport (eds), Arctic Cinema and the Documentary Ethos, forthcoming, 2018.

Soviet Journalists at Nuremberg: Establishing the Soviet War Narrative,’ in David M. Crowe (ed.), ‘May Justice Be Done!’ The Evolution of Soviet Criminal Justice under Stalin: To Nuremberg and Beyond, forthcoming 2018.

‘Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens,’ Connexe, Les espaces postcommunistes en question(s), 2017 (in press)

‘A Holy Relic of War: The Soviet Victory Banner as Artefact,’ in Patrick Finney (ed) Remembering the Second World War, London and New York: Routledge, 2017, 197-216.

‘Appropriating the Presence of History: Raising the Victory Banner over the Reichstag,' Screen, 57:3 (Autumn 2016) 362-70.

'Soiuzdetfil´m Studios, The Birth of Soviet Children’s Film, and the Child Actor', Willey-Blackwell Companion to Russian Cinema Oxford: Willey-Blackwell, 2016.

’Témoins malgré eux’? Les différentes sortes de photographies et d’images filmiques de la Shoah,’ ln Filmer la guerre 1941–1946: Les soviétiques face à la Shoah, Paris: Mémorial de la Shoah, 2015, 123-27.

‘Otrazhenie Kholokosta v sovetskikh dokumental´nykh fil´makh voennogo vremeni I ikh vlianie na pamiat´ o zhertvakh voiny,’ in Il´ia Al´tman, Igor´ Kotler and Jürgen Zarusky (eds), Kholokost 70 spustia. Materialy Mezhdunarodnogo Foruma i 9–i Mezhdunarodnoi konferentsii ‘Uroki Kholokosta I sovremennaia Rossiia, Moscow: Rossiiskaia biblioteka Kholokosta, 2015, 178-82.

‘Back to the Archives: The Testimonial Power of Soviet Silent Footage of the Holocaust,’ in Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989: Re-Visions,Sanja Bahun and John Haynes (eds), London and New York: Routledge, 2014.

‘Challenging the Voice-of-God in Soviet Documentaries of World War II’ in Lilya Kaganovsky and Maria Salazkina (eds) Sound/ Music/ Speech in Soviet and Post-Soviet Cinema, Bloomington: Indiana University Press, 2014.

‘Dziga Vertov, The Man with the Movie Camera,’ in The Russian Cinema: A Reader, ed. Rimgaila Salys, Brighton, MA: Academic Studies Press, 2013.

 ‘“Soul Destroyers” – Soviet Journalism on the Krasnodar and Kharkov trials,’ History, 98:332 (2013).

‘“Too Gruesome to be Fully Taken in”: Konstantin Simonov’s “The Extermination Camp” As Holocaust Literature,’ Russian Review 72:2, 242–259 (2013).

‘The Dead Never Lie’: Soviet Film, the Shoah, and the Nuremberg Tribunal’ trans. as ‘El juicio de los pueblos: los muertos nunca mienten,’ in Archivos de la filmoteca (Valencia, Spain) 2012. Also translated as: '"Les Morts ne mentent pas": le cinéma soviétique, La Shoah et le procès de Nuremberg,' in Valérie Pozner and Natacha Laurent (eds), Kinojudaica: l’image des Juifs dans le cinéma russe et soviétique des années 1910 aux années 1960, Paris: Nouveau monde, 2012.

 ‘Sokurov’s Documentaries,’ in Birgit Beumers, Nancy Condee (eds) The Cinema of Alexander Sokurov, London and New York: I. B. Tauris, 2011.

 ‘From Atrocity to Action: How Soviet Cinema Initiated the Holocaust Film’ in Justice, Politics, and Memory in Europe after the Second World War: Landscapes After Battle, Vol. 2, ed. David Cesarani and Dieter Steinert, Edgware: Vallentine Mitchell, 2011.

‘Confronting the Holocaust: Mark Donskoi’s The Unvanquished, Studies in Russian Soviet Cinema 3:1, (2009), 33-51.

‘Lost in Translation? Did Sound Stop Soviet films Finding Foreign Audiences?’, in Stephen Hutchings (ed.), Screening Intercultural Dialogue: Russia and its Other(s) on Film, London: Routledge-Curzon, 2008, 113-29.

‘“Ne Zolotoi lev dolzhen stat´ nastoiashchim priznaniem Tarkovskogo…” (Vospriiatie fil´ma “Ivanovo detstvo” na Venetsianskom kinofestivale,’ [The Reception of Tarkovsky’sIvan’s Childhood at the Venice Film Festival] in  Fenomen Andreia Tarkovskogo v intellektual´noi i khudozhestvennoy kul´ture, ed. Evgenii Tsymbal, Viacheslav Okeanskii, Ivanovo: Talka, 2008, 105-112.

'Worker Correspondents: Between Journalism and Literature,'Russian Review 66 (October 2007), pp. 568-585.

‘From Conduits to Commanders: Shifting Views of Worker Correspondents, 1924-1926,’ Revolutionary Russia, 19:2 (Dec 2006), pp. 131-149.

'The International Reception of Early Soviet Sound Cinema:Chapaev in Britain and America,' Historical Journal of Film, Radio and Television, Vol. 25, No. 2 (June 2005), pp. 273-89.

'Educating Chapaev: from Document to Myth,' in Stephen Hutchings and Anat Vernitskaia (eds), Screening the Word: Russian and Soviet Film Adaptations of Literature, London: Routledge, 2004.

PhD Supervision

I welcome applications from candidates wishing to undertake doctoral research in the following areas:

Russian and Soviet cinema (especially documentary, Dziga Vertov, wartime and Holocaust cinema)

Memory and trauma in twentieth century Russia (any media)

Russian literature (in particular Mikhail Zoshchenko, non-fiction, journalistic forms)


Current PhD students:

Katie McElvanney - Female Journalists in the Russian Revolutions and Civil Wars: Case Studies of Ariadna Tyrkova-Williams and Larisa Reisner, 1917-1926.

Anastasia Korotonozhkina - Russian Formalism and Russian Constructivism: Convergence and Dissimilarity


Past PhD students:

Anna Hillman - Carnivals of Transition: Cuban and Russian Film (1960-2000).

Victoria Walden - Holocaust Cinema and Haptic Engagement with Memory