Thrower S. Beyond Terror: The Films of Lucio Fulci. L.: FAB Press, 2002.
Tyler G. Underground Film: A Critical History. N.Y.: Da Capo Press, 1995.
Wallace D.F. David Lynch Keeps His Head // Wallace D.F. A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments. Boston; N.Y.; L.: Back Bay Books, 1998.
Walker D., Rausch A.J., Watson C. Reflections on Blaxploitation: Actors and Directors Speak. Lanham, MD: Scarecrow Press, Inc., 2009.
Waller D.A. Midnight Movies, 1980–1985: A Market Study // The Cult Film Experience. Beyond all Reason / J.R Telotte (ed.). Austin: University of Texas Press, 1991.
Weinstock J.A. The Rocky Horror Picture Show. L.; N.Y.: Wallflower Press, 2007.
Weinstock J. The Vampire Film. Undead Cinema. L.; N.Y.: Wallflower, 2012.
Wetterstaetter R. Dying for Action. The Life and Films of Jackie Chan. N.Y.: Warner Books, 1997.
Wilson H.D. They Live. L.; N.Y.: Wallflower Press, 2015.
Wood R. Hollywood from Vietnam to Reagan… and Beyond. N.Y.: Columbia University Press, 2003.
Wood J. 100 American Independent Films. L.: BFI, Palgrave Macmillan, 2009.
Pavlov, A.
Tell your children: One hundred and eleven essays on cult cinema [Text] / A. Pavlov; National Research University Higher School of Economics. – Moscow: HSE Publishing House, 2016. – 424 p. – (Cultural Studies). – 1000 copies. – ISBN 978-5-7598-1381-1 (hardcover).
Many people use the word “cult” in everyday language, and mostly when speaking about cinematography. But not always the concept is used in accordance with its true meaning. However, to speak about the “correct” meaning of “cult cinema” is a complicated task and it is very hard to answer the question about what cult cinema definitely is. In this book the author attempts to understand what cult cinema is: when and how it originated, how it has been developing, what it was, what it has become and if it has survived at all. And if it has survived, how should we speak about it today?
The book consists of two parts. In the first part – which is a theoretical and methodological introduction – the author offers his view of how it is possible to reflect on cult cinema. In the second part the factual material is presented – one hundred and eleven essays on cult cinema given in chronological order so the reader could get an idea about the evolution of the phenomenon. The book will be interesting not only for culturologists and sociologists but also for all those who enjoy cinema. It may be of special value to those who appreciate nonstandard cinematography.