Block G. 1997. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. N. Y.: Oxford University Press.
Bloom H. 1973. The Anxiety of Influence: A Theory of Poetry. Oxford: Oxford University Press.
Bogdanovich P., Welles O. 1996 [1992]. From This Is Orson Welles Perspectives on Citizen Kane / R. Gottesman (ed.). N. Y.: G. K. Hall. P. 527–568. (Extracted from: This Is Orson Welles / J. Rosenbaum (ed.). N. Y.: HarperCollins, 1992. Based on an interview originally conducted in 1982.)
Böker U. 1991. The Marketing of Macpherson: The International Book Trade and the First Phase of German Ossian Reception // Ossian Revisited / H. Gaskill (ed.). Edinburgh: Edinburgh University Press. P. 73–93.
Bordwell D. 1976. Citizen Kane // Movies and Methods / B. Nichols (ed.). Berkeley: University of California Press. P. 273–290.
Borello R. S. 1996. Testo, Intertesto, Ipertesto. Proposte teoriche e percorsi di letteratura. Rome: Bulzoni.
Bouillaguet A. 1996a. L’Écriture imitative. Pastiche Parodie Collage. Paris: Nathan.
Bouillaguet A. 1996b. Proust et les Goncourt: Le pastiche du Journal dans Le Temps retrouvé. Paris: Lettres Modernes.
Boujout M. 1984. Noir comme le jazz? // L’Avant-scène du cinéma. No. 329–330. P. 24–29.
Bourne M., Macaulay A. 1999. Matthew Bourne and His Adventures in Motion Pictures. L.: Faber and Faber.
Boyne R., Rattansi A. (eds). 1990. Postmodernism and Society. L.: Macmillan.
Brand P. Z. 1998. Parody, Pastiche // Encylopedia of Aesthetics / M. Kelly (ed.). Oxford: Oxford University Press. P. 441–445.
Bromwich D. 1985. Parody, Pastiche and Allusion // Lyric Poetry: Beyond New Criticism / C. Hosek, P. Parker (eds). Ithaca, N. Y.: Cornell University Press. P. 328–344.
Brooker P., Brooker W. (eds). 1997a. Postmodern After-Images: A Reader in Film, Television and Video. L.: Arnold.
Brooker P., Brooker W. (eds). 1997b. Pulpmodernism: Tarantino’s Affirmative Action // Postmodern After-Images: A Reader in Film, Television and Video. L.: Arnold. P. 89–100.
Brown R. L. 1993. William Grant Still, Florence Price, and William Dawson: Echoes of the Harlem Renaissance // Black Music in the Harlem Renaissance / S. Floyd (ed.). Knoxville: University of Tennessee Press. P. 71–86.
Brownrigg M. 2003. Film Music and Film Genre. PhD thesis. University of Stirling (unpublished).
Brühl É. 1951. Variantes, nouvelles et pastiches. Paris: Arthaud.
Brunette P. (ed.). 1993. Shoot the Piano Player: François Truffaut, Director. Oxford: Roundhouse Publishing.
Buning M., Engelberts M., Houppermans S. (eds). 2002. Aujourd’hui 12: Pastiches, Parodies and Other Imitations // Samuel Beckett Today. Amsterdam: Rodopi.
Burgett P. 1993. Vindication as a Thematic Principle in the Writings of Alain Locke on the Music of Black Americans // Black Music in the Harlem Renaissance / S. A. Floyd (ed.). Knoxville: University of Tennessee Press. P. 29–40.
Buscombe E. 1992. Stagecoach. L.: British Film Institute.
Buscombe E. (ed.). 1988. The BFI Companion to the Western. L.: André Deutsch/British Film Institute.
Buscombe E., Pearson R. (eds). 1998 Back in the Saddle Again. L.: British Film Institute.
Butler D. 2002. Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction. Westport: Praeger.
Butler J. 1990. Gender Trouble: Feminism and the Subversion of Identity. N. Y.: Routledge, Chapman and Hall.
Butler J. 1991. Imitation and Gender Insubordination // Inside/Out: Lesbian Theories, Gay Theories / D. Fuss (ed.). N. Y.: Routledge, Chapman and Hall. P. 13–31.
Callow S. 1995. Orson Welles: The Road to Xanadu. L.: Jonathan Cape.
Cameron I. (ed.). 1992. The Movie Book of Film Noir. L.: Studio Vista.
Cameron I., Pye D. (eds). 1996. The Movie Book of the Western. L.: Studio Vista.
Cantril H. 1940. The Invasion from Mars: A Study in the Psychology of Panic. Princeton: Princeton University Press.
Caradec F. 1971. Trésors du pastiche. Imitation et parodies de nos grands écrivains — de Villon à Robbe-Grillet. Paris: Pierre Horay.
Carringer R. L. 1985. The Making of Citizen Kane. L.: John Murray.
Carvalhal T. F. 1997. La Tradition de la parodie et la parodie de la tradition dans les littératures latino-américaines // Parodia, Pastiche, Mimetismo / P. Mildonian (ed.). Rome: Bulzoni. P. 297–302.
Charney L.1990. Historical Excess: Johnny Guitar’s Containment // Cinema Journal. No. 29. P. 23–34.
Chatelain N. 1855. Pastiches, ou imitations libres de style de quelques écrivains des 17me et 18me siècle. Paris: Cherbuliez.
Clarke D. 1990. The Penguin Encylopedia of Popular Music. L.: Penguin.
