Пастиш - Ричард Дайер

Salt B. 1983. Film Style and Technology: History and Analysis. L.: Starword.

Sanders R. 1976. The American Popular Song // Next Year in Jerusalem: Jews in the Twentieth Century / D. Villiers (ed.). L.: Harrap. P. 197–219.

Sayce R. A. 1973. The Goncourt Pastiche in Le Temps retrouvé // Marcel Proust: A Critical Panorama / L. Price (ed.). Urbana: University of Illinois Press. P. 102–123.

Scharf A. 1974. Art and Photography (rev. ed.). Harmondsworth: Penguin.

Schiff D. 1997. Gershwin: Rhapsody in Blue. Cambridge: Cambridge University Press.

Schiff S. 1993 [1981]. Body Heat // They Went Thataway: Redefining Film Genres Jameson / T. Richard (ed.). San Francisco: Mercury House. P. 31–35. (From Boston Phoenix. 22 September 1981.)

Schmitz R. E. 1950. The Piano Works of Claude Debussy. N. Y.: Dover.

Schneider M. 1985. Voleurs de mots. Essai sur le plagiat, la psychanalyse et la pensée. Paris: Gallimard.

Schneider T. 1998. Finding a New Heimat in the Wild West: Karl May and the German Westerns of the 1960s’ // Back in the Saddle Again / E. Buscombe, R. Pearson (eds). L.: British Film Institute. P. 141–159.

Scholes P. 1970 [1938]. The Oxford Companion to Music. Oxford: Oxford University Press. (Rev. ed. J. O. Ward (ed.).)

Schulman S. 1998. Stagestruck: Theater, AIDS, and the Marketing of Gay America. Durham: Duke University Press.

Schulze-Engler F. 2002. Exceptionalist Tendencies — Disciplinary Constraints: Postcolonial Theory and Criticism // Euorpean Journal of English Studies. Vol. 6. No. 3. P. 289–305.

Sconce J. 2000. Haunted Media: Electronic Presence from Telegraphy to Television. Durham, NC: Duke University Press.

Secrest M. 1998. Stephen Sondheim: A Life. L.: Bloomsbury.

Segall J. B. 1966 [1907]. Corneille and the Spanish Drama. N. Y.: AMS Press. [N. Y.: AMS Press, 1907.]

Seitz W. C. 1961. The Art of Assemblage. N. Y.: Museum of Modern Art.

Shuker R. 1998. Key Concepts in Popular Music. L.: Routledge.

Silver A. 1996. Son of Noir: Neo-Film Noir and the Neo-B Picture // Film Noir Reader / A. Silver, J. Ursini (eds). N. Y.: Limelight. P. 331–338.

Silver A., Ursini J. (eds). 1996. Film Noir Reader. N. Y.: Limelight.

Silver A., Ursini J. (eds). 1999. Film Noir Reader 2. N. Y.: Limelight.

Silver A., Ward E. 1988. Film Noir: An Encyclopedic Reference Guide (rev. ed.). L.: Bloomsbury.

Simmon S. 2003. The Invention of the Western Film: A Cultural History of the Genre’s First Half-Century. Cambridge: Cambridge University Press.

Slattery P. H. 1972. A Comprehensive Study of the Afro-American Symphony’ // William Grant Still and the Fusion of Cultures in American Music Haas / R. Bartlett (ed.). Los Angeles: Black Sparrow Press. P. 11–40.

Slobin M. 2003. Putting Blackface in Its Place // Entertaining America: Jews, Movies and Broadcasting / J. Hoberman, J. Shandler (eds). N. Y.: The Jewish Museum.Princeton: Princeton University Press. P. 93–99.

Smith C. P. 2000. William Grant Still: A Study in Contradictions. Berkeley: University of California Press.

Smith S. C. 1991. A Heart at Fire’s Centre: The Life and Music of Bernard Herrmann. Berkeley: University of California Press.

Smith V. 1998. Not Just Race, Not Just Gender: Black Feminist Readings. N. Y.: Routledge.

Sontag S. 1967. Notes on «Camp» // Against Interpretation. L.: Eyre and Spottiswoode. P. 275–292.

Sørenssen B. 2003. «Visual Eloquence» and Documentary Form: Meeting Man of Marble in Nowa Huta // The Cinema of Andrzej Wajda: The Art of Irony and Defiance / J. Orr, E. Ostrowski (eds). L.: Wallflower. P. 103–115.

Spicer A. 2002. Film Noir. Harlow: Pearson Longman.

Stafford F. 1988. The Sublime Savage: James Macpherson and the Poems of Ossian. Edinburgh: Edinburgh University Press.

Stafford F. J. 1991. «Dangerous Success»: Ossian, Wordsworth, and English Romantic Literature // Ossian Revisited / H. Gaskill (ed.). Edinburgh: Edinburgh University Press. P. 49–72.

Stallybrass P., White A. 1986. The Politics and Poetics of Transgression. Ithaca, NY: Cornell University Press.

Stam R. 1989. Subversive Pleasures: Bakhtin, Cultural Criticism and Film. Baltimore, MD: Johns Hopkins University Press.

Stam R. 2000. Beyond Fidelity: The Dialogics of Adaptation // Film Adaptation / J. Naremore (ed.). L.: Athlone Press. P. 54–76.

Stam R., Vieira J. V., Xavier I. 1995. The Shape of Brazilian Cinema in the Postmodern Age // Brazilian Cinema / R. Johnson, R. Stam (eds) (exp. ed.). N. Y.: Columbia University Press. P. 389–472.

Stanfield P. 2002. «Film Noir Like You’ve Never Seen Before»: Jim Thompson Adaptations and Cycles of Neo-noir // Genre and Contemporary Hollywood / S. Neale (ed.). L.: British Film Institute. P. 251–268.

Stearns M., Stearns J. 1968. Jazz Dance: The Story of American Vernacular Dance. N. Y.: Macmillan.

Stern K. 1994. Pasticcio // The New Grove Dictionary of Opera / S. Sadie (ed.). L.: Macmillan. P. 907–910.

Still J., Worton M. (eds). 1990. Intertextuality: Theories and Practices. Manchester: Manchester University Press.

Stuart A. 1997. The Watermelon Woman // Sight and Sound. Vol. 7. No. 10 (NS). P. 63–64.

Studlar G. 1998. Wider Horizons: Douglas Fairbanks and Nostalgic Primitivism // Back in the Saddle Again / E. Buscombe, R. Pearson (eds). L.: British Film Institute. P. 63–76.

Studlar G., Bernstein M. (eds). 2001. John Ford Made Westerns: Filming Beyond the Legend in the Sound Era. Bloomington: Indiana University Press.

Sutton D. 1980. The Greek Satyr Play. Meisenheim am Glan: Anton Hain.

Suvin D. 1997. Against Originals: Honkadori and the Horizons of Pastiche // Parodia, Pastiche, Mimetismo / P. Mildoniana (ed.). Rome: Bulzoni. P. 65–80.

Taruskin R. 1998. «Entoiling the Falconet»: Russian Musical Orientalism in Context // The Exotic in Western Music / J. Bellman (ed.). Boston: Northeastern University Press. P. 194–217.

Taubin A. 2002. In Every Dream Home // Film Comment. September-October. P. 22–26.

Taylor H. 2001. Circling Dixie: Contemporary Southern Culture through a Transatlantic Lens. New Brunswick: Rutgers University Press.

Thomas D. 2000. Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films. L.: Cameron and Hollis.

Thomas R. 1985. Indian Cinema: Pleasures and Popularity // Screen. Vol. 26. No. 3–4. P. 34–57.

Tiffin H. 1991. Introduction // Past the Long Post: Theorizing Post-Colonialism and Post-Modernism / I. Adam, H. Tiffin (ed.). Hemel Hempstead: Harvester Wheatsheaf. P. vii — xv.

Tillotson G. (ed.). 1941. The Rape of the Lock. L.: Methuen.

Török