1) Angelou, Maya. I Know Why The Caged Bird Sings. Bantam Books: New York, NY. 1969.
2) Berry, S. Torriano, and Venise T. Berry. The 50 Most Influential Black Films. Kensington Pub. Corp.: New York, NY. 2001.
3) Bowser, Pearl, and Louise Spence. Writing himself into history: Oscar Micheaux, his silent films, and his audiences. Rutgers University Press, New Brunswick, NJ. 2000.
4) Flory, Dan. Race, Rationality, and Melodrama: Aesthetic Response and the Case of Oscar Micheaux. The Journal of Aesthetics and Art Criticism. 63.4 (September 2005). P. 327-338.
5) George, Nelson. Blackface: Reflections on African-Americans and the Movies. HarperCollins Pub.: New York, NY. 1994.
6) Holsey, Steve. Dorothy Dandridge, Troubled screen goddess was ahead of her time. Michigan Chronicle, 61.5 (Oct 26, 1997). P. 1-D
7) Jones, K. Maurice. Spike Lee and the African American Filmmakers. Millbrook Press: Brookfield, CT. 1996.
8) Knee, Adam, and Charles Musser. William Greaves: Documentary Film-Making, and the African-American Experience. Film Quarterly, 45.3 (1992). Pgs.13-25
9) Leavy, Walter. Who was the real Dorothy Dandridge? Ebony. 54.10 (August 1999). P.100
10) Musser, Charles. To Redream the Dreams of White Playwrights: Reappropriation and Resistance in Oscar Micheaux's Body and Soul. The Yale Journal of Criticism 12.2 (1999). P.321-356.
11) Reid, Mark A. Black Lenses, Black Voices: African American Film Now. Rowman & Littlefield: Lanham, MD. 2005.
12) Williams-Garcia, Rita. No Laughter Here. HarperCollins Pub.: New York, NY. 2004.
13) Wander, Brandon. Black Dreams: The Fantasy and Ritual of Black Films. Film Quarterly, 29.1 (1975). Pg.2-11
