Пастиш - Ричард Дайер
Шрифт:
Интервал:
Закладка:
Trevor-Roper H. 1983. The Invention of Tradition: The Highland Tradition of Scotland // The Invention of Tradition / E. Hobsbawm, T. Ranger (eds). Cambridge: Cambridge University Press. P. 15–42.
Truffaut F. 1993. Should Films be Politically Committed? // Shoot the Piano Player: François Truffaut, Director / P. Brunette (ed.). Oxford: Roundhouse Publishing. P. 134–136. (Extract from ‘Questions à l’auteur’ // Cinéma. 1961. No. 52. P. 7–11.)
Tucker M. (ed.). 1993a. Duke Ellington’s Black, Brown and Beige // Special Issue of Black Music Research Journal. No. 13. P. 2.
Tucker M. (ed.). 1993b. The Duke Ellington Reader. N. Y.: Oxford University Press.
Turim M. 2003. Remembering and Deconstructing: The Historical Flashback in Man of Marble and Man of Iron // The Cinema of Andrzej Wajda: The Art of Irony and Defiance / J. Orr, E. Ostrowski (eds). L.: Wallflower. P. 93–102.
Turner J. (ed.). 1996. The Dictionary of Art. L.: Macmillan (Grove).
Tyler P. 1971 [1949]. Documentary Technique in Film Fiction // The Documentary Tradition / L. Jacobs (ed.). N. Y.: W. W. Norton. P. 251–266. [American Quarterly. 1949. Summer.]
Ullmann S. 1964. Style in the French Novel. Oxford: Basil Blackwell.
Usher M. D. 1998. Homeric Stitchings: The Homeric Centos of the Empress Eudocia, Lanham, MD: Rowman and Littlefield.
Venturi R. 1977 [1966]. Contradiction and Complexity in Architecture. L.: The Architectural Press. [N. Y.: Museum of Modern Art.]
Verweyen Th., Witting G. 1991. The Cento. A Form of Intertextuality from Montage to Parody // Intertextuality / H. Plett (ed.). Berlin: De Gruyter. P. 165–178.
Vieira J. L. 1998. Lessons from the Past: The Carnivalesque and the Avant Garde // Cinema Novo and Beyond / J. L. Vieira (ed.). N. Y.: Museum of Modern Art. P. 101–112.
Vieira J. L. (ed.). 1998. Cinema Novo and Beyond. N. Y.: Museum of Modern Art.
Vincendeau G. 1992. Noir is also a French Word // The Movie Book of Film Noir / I. Cameron (ed.). L.: Studio Vista. P. 49–58.
Vincendeau G. 2007. French Film Noir in the Classical Era // European Film Noir / A. Spicer (ed.). Manchester: Manchester University Press.
Walkley A. B. 1970 [1921]. Pastiche and Prejudice, Freeport. N. Y.: Books for Libraries Press. [L.: William Heinemann.]
Warrack J. 1979. Tchaikovsky Ballet Music. L.: British Broadcasting Corporation.
Warshow R. 1971 [1954]. Movie Chronicle: The Westerner // The Immediate Experience. N. Y.: Atheneum. P. 135–154. [Partisan Review. 1954. March-April.]
Watkins G. 1994. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the Postmodernists. Cambridge, MA: Belknap Press of Harvard University Press.
Webster’s Third New International Dictionary of the English Language Unabridged. 1961. L.: Bell.
Werness H. B. 1983. Han van Meegeren fecit // The Forger’s Art: Forgery and the Philosophy of Art / D. Dutton (ed.). Berkeley: University of California Press. P. 1–57.
Wescher H. 1968. Collage / R. E. Wolf (transl.). N. Y.: Harry N. Abrams.
Wiley R. J. 1985. Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker. Oxford: Clarendon Press.
Wiley R. J. (ed.). 1990. A Century of Russian Ballet: Documents and Accounts, 1810–1910. Oxford: Clarendon Press.
Williams A. 1984. Is a Radical Genre Criticism Possible? // Quarterly Review of Film Studies. Vol. 9. No. 2. P. 121–125.
Williams T. 1999. British Film Noir // Film Noir Reader 2 / A. Silver, J. Ursini (eds). N. Y.: Limelightm. P. 243–271.
Willis C. 2002. The Signifier Returns to Haunt the Referent: Blackface and the Stereotyping of African-Americans in Hollywood Early Sound Film. PhD thesis. University of Warwick. Coventry (unpublished).
Willis S. 2003. The Politics of Disappointment: Todd Haynes Rewrites Douglas Sirk’ // Camera Obscura 54. Vol. 18. No. 1. P. 131–174.
Wilson E. 1990. These New Components of the Spectacle: Fashion and Postmodernism // Postmodernism and Society / R. Boyne, A. Rattansi (eds). L.: Macmillan. P. 209–236.
Wilton-Ely J. 1996. Capriccio // The Dictionary of Art / J. Turner (ed.). L.: Macmillan (Grove). P. 685–688.
Wojcik P. R., Knight A. (eds). 2001. Soundtrack Available: Essays on Film and Popular Music. Durham: Duke University Press.
Wolff J. 1990. Postmodern Theory and Feminist Art Practice // Postmodernism and Society / B. Roy, A. Rattansi (eds). L.: Macmillan. P. 187–208.
Wood R. 1968. Howard Hawks. L.: Secker and Warburg; British Film Institute.
Wooton A., Taylor P. (eds). (n.d.). David Goodis/Pulps Pictured: For Goodis’ Sake. L.: British Film Institute (dossier).
Wright R. 1938. Uncle Tom’s Children. N. Y.: Harper & Brothers.
Wright R. 1940. Native Son. N. Y.: Harper and Row.
Yearwood G. L. 2000. Black Film as Signifying Practice: Cinema, Narration and the African-American Aesthetic Tradition. Trenton, NJ: Africa World Press.
Zadan C. 1990. Sondheim and Co. L.: Nick Hern Books.
Zamora L. P., Faris W. B. (eds). 1995. Magic Realism: Theory, History, Community. Durham: Duke University Press.
Zarbus C. 2001. Subversive Scribes: Rewriting in the Twentieth Century // Anglistica. Vol. 5. No. 1–2. P. 191–207.
Zarbus C. 2002. Tempests After Shakespeare. N. Y.: Palgrave.