Cristina VatulescuAssociate Professor of Comparative Literature, Russian & Slavic Studies
Ph.D. 2005, Harvard; B.A. 1998, Harvard
Research Interests: relationship of literature to other disciplines, arts, and media; aesthetics and politics, law, and policing; artistic and extra-artistic genres, in particular the novel, autobiography, and the police file/film; documentary/fiction/metafiction; archival art and theory; intermedia; literary and film theory and history; Russian and Romanian twentieth century culture; immigration and cultural exchange
Cristina Vatulescu received her Ph.D in Comparative Literature from Harvard in 2005 and came to NYU after a year as a Junior Fellow at the Harvard Society of Fellows. She is the author of Police Aesthetics: Literature, Film and The Secret Police, a study of the relationships between cultural and policing practices in twentieth century Eastern Europe, was published by Stanford University Press. Taking advantage of the partial opening of the secret police archives in Russia and Romania, Police Aesthetics focuses on their most infamous holdings—the personal files—as well as on the agency's less known involvement with cinema. Two articles stemming from this project, "Arresting Biographies: The Secret Police File in The Soviet Union and Romania," and "Politics of Estrangement: Tracking Shklovsky's Device in Literary and Policing Practices" have been published in Comparative Literature and Poetics Today. Vatulescu is currently working on a project entitled Archival Revolutions: Document, Fiction, Medium. She is also at work co-editing The Svetlana Boym Reader.
Police Aesthetics: Literature, Film, and the Secret Police Archives in Soviet Times, Stanford University Press, 2010. Paperback edition, 2013.
Winner of the 2011 Heldt Prize for the best book by a woman in any area of Slavic/Eastern European/Eurasian Studies. Winner of the 2011 Outstanding Academic Title Award, sponsored by Choice. One of four books shortlisted for the Wayne S. Vucinich Book Prize for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences.
"Afterimages: Svetlana Boym’s Irrepressible Cocreations,” diacritics, 43, no. 3 (2015).
"Art and Law Enforcement in a Ring Box: TALWST’s Miniature Aesthetic Revolution,” The Brooklyn Rail, February 2016.
Secrecy, Spectacle, Power. Special Issue of Perspectives on Europe, co-edited with Neringa Klumbytė, 45, no. 1, (spring 2015).
“Translating Secrecy: The Birth of the Iron Curtain Viewed from the West, the East, and Right Under” Perspectives on Europe, 45, no. 1 (2015): 25-40.
“Editors' Note”, co-authored with Neringa Klumbytė, Perspectives on Europe, 45, no. 1 (2015): 6-11.
“Prisons into Museums: Fashioning a Post Communist Place of Memory,” Rites of Place, Julie Bucker and Emily Johnson, eds., Northwestern University Press, 2013.
“The Medium on Trial: Orson Welles Takes on Kafka and Cinema,” Literature & Film Quarterly, 41, no. 1 (2013).
“‘The Face to Face Encounter of Art and Law:’ Abbas Kiarostami’s Close-up,” lead article, Law and Literature, 23, no 2 (2011): 173-194.
“Early Cinematic Representations of the Gulag: The Camp as Soviet Exotica in A. Cherkasov’s Solovki,” Gulag Studies, 2-3 (2009-2010): 21-36.
“The Politics of Estrangement: Tracking Shklovsky's Device through Literary and Policing Practices.” Poetics Today, 27, no. 1 (2006): 35-66.
“Chronique d’un été.” Encyclopedia of Documentary Film, ed. Ian Aitken, Routledge: New York, 2005.
“Arresting Biographies: Secret Police Files in the Soviet Union and Romania.” Comparative Literature, 56, no. 3 (2004): 243-261.(6th most-frequently cited article from Comparative Literature as of March 1st, 2010)