+44 (0)113 343 3294
Vlad Strukov is an Associate Professor in Film and Digital Culture, specialising in world cinemas, visual culture, digital media, intermediality and cultural theory. He explores theories of empire and nationhood, global journalism and grassroots media, consumption and celebrity by considering the Russia Federation and the Russian-speaking world as his case study. Before taking his position at the University of Leeds in 2008, he had had teaching and research positions at the following institutions: University College London, Universities of Helsinki, Pittsburgh, Edinburgh, Leuven, Moscow and Voronezh.
He is the founding and principal editor of the journal Studies in Russian, Eurasian and Central European New Media (www.digitalicons.org). The journal is a multi-media platform that explores media and digital media as a variety of information flows, varied communication systems, and networked communities. He is the co-director of the Leeds Russian Centre (Russia[n] in the Global Context). He is a member of the Russian Media Lab (Helsinki), the AHRC-funded network on Soft Power, Film and the BRICS, and UCL Russian Cinema Research Group. He is on the editorial board of Region: Regional Studies of Russian, Eastern European, and Central Asia (Hankuk University, Seoul, Korea). He is also a co-organiser of the Leeds Dostoevsky Day.
He regularly contributes his expert advice and original programming on contemporary Russian culture and media to international broadcasters such as the BBC, Al Jazeera, American Public Radio, and others. He has curated public events in internationally renowned institutions such as Tate Modern, The Institute of Contemporary Arts (London), Leeds International Film Festival, Pushkin House (London), British Academy for Film and Television Arts, and others.
His current doctoral research students work on different projects exploring theories of documentary film, computer gaming and education, gender and sexuality and media, religion and media, caricature, satire and transmediality, literature and symbolic mediation, and politics and popular culture.
His teaching portfolio includes the following lecture courses: MA Research Methods, MA Dissertation in Film Studies, Introduction to Audio-Visual Culture, Introduction to Film, Cinema in the Digital Era, Russian (New) Media, Russian Cinema: Cultural Symbols and Symbolic Structures, Gender Identity in Soviet and Post-Soviet Russia, Postcommunist / Postmodernist Identities, Not by Bread Alone: Everyday Culture under the Soviet Regime, From Icons to iPods: Approaches to Russian Culture, and many others. He is currently developing a course on film adaptation and intermediality.
Current research projects:
Contemporary Russian Media and Culture, a book-length project to be published in 2018-19.
Russian Culture in the Twenty First Century (co-edited with S. Hudspith), London: Routledge, 2017.
Monographs and edited volumes:
Contemporary Russian Cinema: Symbols of a New Era, Edinburgh University Press, 2016.
Russian Aviation, Space Flight and Visual Culture, (co-ed. with H. Goscilo), London: Routledge, 2016.
New Media in New Europe-Asia, (co-ed. with J. Morris & N. Rulyova), London: Routledge, 2014.
From Central to Digital: Television in Russia, (co-ed. with V. Zvereva), Voronezh: Nauka-Press, 2014.
Celebrity and Glamour in Contemporary Russian Culture, (co-ed. with H. Goscilo), London: Routledge, 2010.
The Historical Dictionary of Contemporary Russia, (co-authored with R. Saunders), Lanham: Scarecrow Press, 2010.
Cultura Post: At the Crossroads of Cultures and Civilisations, (co-ed. with M. Popova), Voronezh: Voronezh University Press, 2004.
National Identity and Cross-Cultural Communication, (co-ed. with M. Popova), Voronezh: Voronezh University Press, 2004.
National Identity in Literature and Humanities of the 20th century, (co-ed. with M. Popova), Voronezh: Voronezh University Press, 2004.
National Identity in Culture and Education in Russia and the West, (co-ed. with M. Popova), Voronezh: Voronezh University Press, 2001.
Embracing Postmodernity: Discourses of Historicity and Fiction, Voronezh: Voronezh University Press, 2000.
Peer-reviewed Journal Articles and Chapters in Volumes:
The Gesture of Alterity: Renata Litvinova and the Mediation of Contemporary Russian Sensibility, in Women Behaving Badly: Towards a Cultural History of Feminist Transgression in Russia and Eastern Europe, ed. by Y. Hashamova, B. Holmgren & M. Lipovetsky, London: Routledge, 2016.
Digital Conservatism: Framing Patriotism in the Era of Global Journalism, in Eurasia 2.0: Russian Geopolitics in the Age of New Media, ed. by M. Suslov & M. Bassin, Lanham: Lexington, 2016.
Inverting the Imperial Dyad: Post-Soviet Screen Adaptations of Tolstoys A Prisoner of the Caucasus (co-authored with S. Hudspith), in Tolstoy on Screen, ed. by L. Fitzsimmons & M. Denner, Evanston: Northwestern UP, 2014.
Russia Today: (National) Self-Representation and Transnational Television, in From Central to Digital: Television in Russia, ed. by V. Strukov & V. Zvereva, Voronezh: Nauka Press, 2014.
The (Im)Personal Connection: Computational Systems and (Post-)Soviet Cultural History, in Digital Russia: The Language, Culture and Politics of New Media Communication, ed. by M. Gorham et al., London: Routledge, 2014.
Pussy Riot: From Local Appropriation to Global Documentation, or Contesting the Media System, Studies in Russian, Eurasian and Central European New Media, 9, 2013.
The Elbow as a Lever of Socialism: Visual Strategies of Soviet Industrialization, Theory of Fashion, Moscow: NLO, 2013.
Ludic Digitality: Films by Aleksandr Sokurov & Aleksei Popogrebskii as Cinegames, Studies in Russian, Eurasian and Central European New Media, 2012.
Networked Putinism: The Fading Days of the (Broadcast Era), Studies in Russian, Eurasian and Central European New Media, 7, 2012.
Spatial Imagining and Ideology of Digital Commemoration (Russian Online Gaming), Europe-Asia Studies, 2012.
Digital Switchover, or Digital Grip: Transition to Digital Television in the Russian Federation, International Journal of Digital Television, 2011.
Translated by Goblin: Global Challenge and Local Response in Post-Soviet Translations of Hollywood Films, in Contexts, Subtexts and Pretexts: Literary Translation in Eastern Europe and Russia, ed. by B. Baer, Amsterdam: John Benjamin, 2011.
The Forces of Kinship: Timur Bekmambetovs Night / Day Watch film trilogy, In Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film, ed. by H. Goscilo & Y. Hashamova, Bloomington: Indiana University Press, 2010.
For All Who Draw the Sword will Die by the Sword: The Symbolism of Filipp Iankovskii's The Sword Bearer, Studies in Russian and Soviet Cinema, 2010.
Russias Internet Media Policies: Open Space and Ideological Closure, in Post-Soviet Russian Media: Conflicting Signals, ed. by B. Beumers et al., London: Routledge, 2009.
Cycles, Calculus and Synergies, in To Look and to Look: Documentos del Sol, ed. by R. Valverde, Madrid: Esete punto, 2009.
A Journey Through Time: Alexander Sokurovs Russian Ark and Theories of Mimesis, in Realism and Audio-Visual Media, ed. by L. Nagib & C. Mello, Palgrave, 2009.
Virtualization of Space and Self in Tarkovskys Solaris (1972), in Tarkovsky, ed. by N. Dunn, London: Black Dog Publishing, 2008.
Possessive and Superlative: On the Simulation of Democracy and Nationhood in Russia, The Russian Cyberspace Journal, 2008.
Video Anekdot: Auteurs and Voyeurs of Russian Flash Animation, in Animation: An Interdisciplinary Journal, 2007.
The Return of Gods: Andrei Zviagintsevs Vozvrascheniie [The Return], in Slavic and East European Journal, 51(2), 2007.
The Performativity of Fear: Andrei Bakhurins Flash Animation in Static, 1, 2005.
Masiania, or Reimagining the Self in the Cyberspace of Rusnet, in Slavic and East European Journal, 48(3), 2004.
Russian Film Legislation is Used to Detract from More Pressing Issues, in The Conversation, 2015.
Political Spectrum: The Three Colours of the Cold War, in Calvert Journal, 2014.
The Giant: Russian Auteur Andrey Zvyagintsev Returns with Leviathan, in Calvert Journal, 2014.
Screen Tactics: The Art of the Digital Era Looks Back, in Contemporary Art, ed. by A. Prudnikova, Yekaterinburg UP, 2013.
BBCs Video Hub: Working in the Post-Broadcast Era (Interview with Zoya Trunova, BBC editor), Studies in Russian, Eurasian and Central European New Media, 7, 2012.
Digital Saint Sebastian (Interview with Natalia Kamenetskaia, artist, Moscow), Studies in Russian, Eurasian and Central European New Media, 6, 2011.
Digital Citizenship: E-Deliberation, Democracy and the Future of the Discipline, Studies in Russian, Eurasian and Central European New Media, 3, 2010.
Digital Citizenship: E-Deliberation, Democracy and the Future of the Discipline (Interview with Professor Stephen Coleman), Studies in Russian, Eurasian and Central European New Media, 3, 2010.
Digital (After-)Life of Russian Classical Literature, in Kultura: Russian Cultural Review, 2009.
Contributions to Encyclopaedia:
Multiple entries for Russian Cinema Reader, ed. by Rimgaila Salys, Brighton: Academic Studies Press, 2013.
Multiple Entries for Directory of World Cinema: Russia, ed. by B. Beumers, Bristol: Intellect, 2011.
Entry to Russian Cinema Centenary, ed. by J. Graffy, Bristol: Intellect, 2008
Multiple entries for Routledge Encyclopaedia of Contemporary Russian Culture, ed. by T. Smorodinskaja, H. Goscilo and K. Evans-Romaine, London: Routledge, 2006.