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Abarza Baumann, M. (2011). Historia & concepto del black metal. Llinars del Vallès: Quarentena.
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Abbott, H., & Ardrey, C. (2018). ”Mon gosier de métal parle toutes les langues”: Translations and Transformations of Baudelaire in Black Metal Music. Esprit Créateur; Baltimore, 58(1), 130–143.
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Aesthetic Transcendence. (2012). Trine + Kim Design Studio. In T. Howells (Ed.), Black Metal: Beyond the Darkness. Black Dog Publishing.
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Almer, J., & Ondřej, D. (2018). “666 XXX”: Sexploitation in Czech and Slovak Black Metal and Porno-Gore Grind. Časopis za kritiko znanosti, domišljijo in novo antropologijo (Journal for the Critique of Science, Imagination, and New Anthropology), XLVI(274), 199–214.
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Apergis, C. (2019). Screaming Ancient Greek Hymns: The Case of Kawir and the Greek Black Metal Scene. In K. F. B. Fletcher, & O. Umurhan (Eds.), Classical Antiquity in Heavy Metal Music (pp. 77–96). London, New York, Oxford, New Dehli & Sydney: Bloomsbury Academic.
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Azevedo, C. (2009). É para ser escuro! – codificações do Black Metal como gênero audiovisual. Ph.D. thesis, Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro.
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Beckwith, K. (2002). ”Black Metal is for white people” constructs of colour and identity within the Extreme Metal scene. Colour, 5(3), n.-p.
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Birk, N. T. (2012). South of Helvete (and east of Eden). In T. Howells (Ed.), Black Metal: Beyond the Darkness. Black Dog Publishing.
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Bogue, R. (2004). Violence in Three Shades of Metal : Death, Doom and Black. In I. Buchanan, & M. Swiboda (Eds.), Deleuze and Music (pp. 95–117). Ediinburgh: Edinburgh University Press.
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Bossius, T. (2003). Med framtiden i backspegeln. Black metal- och transkulturen. Ungdomar, musik och religion i en senmoden värld. Ph.D. thesis, Göteborgs universitet, Göteborg.
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