Leigh, Michele. Archaeologies of Influence: Uncovering the Women who Helped Shape the Russian Film Industry Before 1917.
Detroit, MI: Wayne State University Press. Advanced Book Contract, expected Spring 2019. Articles in Professional Journals:
Leigh, Michele. (under review). Death Becomes Her: the Ghost, the Corpse and the Female Body in the Films of Evgenii Bauer. Apparatus
. Leigh, Michele. (under review).Welcome to the Clone Club: Orphan Black and 21st Century Feminisms. Feminist Media Studies. Leigh, Michele. (under review). Animating Archer, Sterling Archer: Bad Ass Spy or the Ultimate Mama’s Boy. Animation Studies Online Journal.
Lowery, Michele. (1998, December). For Queen and Country. An article on Shekhar Kapur’s Elizabeth
. American Cinematographer
, 16-20. Chapters in Professional Books:
Leigh, Michele. (expected FA 2017). A Laughing Matter: El’dar Riazanov and the Subversion of Soviet Gender in Russian Comedy. In Marina Rojavin and Tim Harte (Eds.), Daughters of the Thaw: Women in 1960s-70s Soviet Cinema.
Leigh, Michele. (2015). Zoia Barantsevich and the Khanzhonkov Studios 1913-1917. In Jule Selbo and Jill Nelmes (Eds.), Women Screenwriters – An International Guide
(146-150). Basingstoke, England: Palgrave MacMillan.
Leigh, Michele. (2015). Reading Between the Lines: History and the Studio Owner’s Wife. In Christine Gledhill and Julia Knight (Eds.), Doing Women’s Film History
(42-52). Champaign, Illinois: University of Illinois Press.
Torre, Michele. (2004). Filtering Culture: Symbolism, Modernity and Gender Construction in Evgenii Bauer’s Films. In Fullerton, J. (Ed.), Screen Culture: History and Textuality
(pp. 99-112). Eastleigh, England: John Libbey Press. Peer Reviewed Book Chapters:
Leigh, Michele. (2013). Alexander Khanzhonkov and His Queens of the Screen. In Monica Dall’Asta, Victoria Duckett, Lucia Tralli (Eds.), Researching Women in Silent Cinema: New Findings and Perspectives
(pp. 162-373). Bologna, Italy: University of Bologna. Photographic Publications
Leigh, M. (2013). Moscow, Russia. Babuska Gets A Call. In Aguayo. J. A., & Calvert, J.S., (Re)Capturing Womanhood: Perspectives and Portraits Through Mobile Photography. Visual Communication Quarterly
, 20:3, 185.
Torre, M. (2012). Untitled. In Stocking, R., SIU’s Community of Resistence. Solidarity
Torre, M. (1999, Spring/Summer). Series of photographs, In Barton, I., Fucking with Identity. Spectator
. Vol. 19. Book Reviews:
Torre, M. (2012, April). Alexander Shiryaev: Master of Movement Studies. Russian and Soviet Cinema
, Volume 5, Number 3, 411-430.
Torre, M. (2006, Spring). A Culture of Light: Cinema and Technology in 1920s Germany. The Moving Image
Torre, M. (2005, Fall). Reframing British Cinema: 1918-1928 Between Restraint and Passion. The Moving Image
Torre, M. (1998, September). Couffer Captures Cats. An interview with Jack Couffer about his book The Cats of Lamu. American Cinematographer
, 127. Conference Proceedings:
Leigh, M. (2017). Damaged Goods: Broken Women/Killing Machines. In Paul Booth’s (Ed.) Time Lords & Tribbles, Winchesters & Muggles: A Five-year Retrospective of the DePaul Pop Culture Conference. Chicago.
Leigh, M. (2017). Doctor Who: The Grand Narrative and Postmodern TV. In Paul Booth’s (Ed.) Time Lords & Tribbles, Winchesters & Muggles: A Five-year Retrospective of the DePaul Pop Culture Conference. Chicago.
Torre, M. (2012). Animated Music: Early Experiments with Generative Art. Proceedings of International Generative Art Conference
. Lucca, Italy.