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 Coventry (unpublished).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.
