"This is nothing less than a reconsideration of the entire edifice of Soviet cinema and performance. Corrigan writes with elegance and grace, guiding her readers through unfamiliar territory while always holding their attention."— Eliot Borenstein, author of Plots against Russia: Conspiracy and Fantasy after Socialism
"As a counter to a solely cinema-focused conceptualization of this era, this study develops a transnational media theory of eccentricity. Defining eccentric circles as warped, irregular orbits that force a realignment of centers, Monuments Askew shows how FEKS's body of work inspires an eccentric realignment of the pillars of Soviet visual culture, and indeed of monumentality itself."— Lilya Kaganovsky, author of The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935
"Corrigan's lively, irreverent introduction to FEKS achievements maps its institutional history along with informative asides to the biographies of Kozintsev and Trauberg, Ukrainian Jews who moved east to realize newly available opportunities in the fledgling USSR. Despite the mediocre condition of available prints or the complete loss of others, she deftly explores their still too little-known early films. Her intensive readings of The Overcoat (1926), The Devil's Wheel (1926), and S.V.D.—The Club of the Big Deed (1927) significantly broaden our understanding of FEKS's contributions in this brief countercultural episode in early Soviet cultural practice."
— Cineaste