Abu-Lughod, Lila, 2005. Dramas of Nationhood: The Politics of Television in Egypt. Chicago: The University of Chicago Press.
Barber, Karin, 1997. “Preliminary Notes on Audiences”, Africa, 67 (3), pp. 347-62.
Barthes, Roland, 1975. The Pleasure of the Text. New York: Hill and Wang.
Bauman, Richard and Joel Sherze, 1972. Explorations in the Ethnography of Speaking. New York: Cambridge University Press.
Brenneis, Don, 1986. “Shared Territory: Audience, Indirection and Meaning”,Text, 6 (3).
Burke, Timothy, 1996. Lifebuoy Men, Lux Women: Commodification, Consumption and Cleanliness in Modern Zimbabwe. Durham, NC: Duke University Press.
Erlmann, Veit, 1996. Nightsong: Performance, Power and Practice in South Africa. Chicago: University of Chicago Press.
Fabian, Johannes, 1996. Remembering the Present: Painting and Popular History in Zaire. Berkeley: University of California Press.
Hall, Stuart, 1993. “Encoding, Decoding”, in Simon During (ed.), The Cultural Studies Reader, pp. 90-103. New York: Routledge.
Hecht, David and Maliqalim Simone, 1994. Invisible Governance: The Art of African Micropolitics. Brooklyn: Autonomedia.
Hymes, Dell, 1974. Foundations in Sociolinguistics: An Ethnographic Approach. Philadelphia: University of Pennsylvania Press.
Jewsiewicki, Bogumil, 1996. “Zairian Popular Painting as Commodity and as Communication”, in Mary J. Arnoldi, Christraud M. Geary, and Kris L. Hardin (eds), African Material Culture. Bloomington: Indiana University Press.
Jules-Rosette, Bennetta, 1992. “What Is ‘Popular’? The Relationship Between Zairian Popular and Tourist Paintings”, in Bogumil Jewsiewicki (ed.), Art pictural zairois, pp. 41-62. Sillery, Québec: Editions du Septentrion.
Larkin, Brian, 1997. “Indian Films and Nigerian Lovers: Media and the Creation of Parallel Modernities”, Africa, 67 (3), pp. 406-40.
Mankekar, Purnima, 1999. Screening Culture, Viewing Politics: an Ethnography of Television, Womanhood and Nation in Post-Colonial India. Durham, N.C.: Duke University Press.
Meintjes, Louise, 1990. “Paul Simon’s ‘Graceland’, South Africa, and the Mediation of Musical Meaning”,Ethnomusicology, Winter issue.
Meyer, Birgit, 2000. “Ghanaian Popular Cinema and the Magic in and of Film”, in Birgit Meyer and Peter Pels (eds), Magic and Modernity. Interfaces of Revelation and Concealment. New York: Routledge.
Radway, Janice, 1984. “Interpretive Communities and Variable Literacies: The Functions of Romance Reading”, Daedalus, 113 (3), pp. 49-73.
Richards, Paul, 1996. Fighting for the Rain Forest: War, Youth & Resources in Sierra Leone. Portsmouth, N.H.: Heinemann.
Schoepf, Brooke Grundfest and Walu Engundu, 1991. “Women’s Trade and Contributions to Household Budgets in Kinshasa”, in Janet MacGaffey (ed.), The Real Economy of Zaire. Philadelphia: University of Pennsylvania Press.
Schulz, Dorothea, 1999. “In Pursuit of Publicity. Talk Radio and the Imagination of a Moral Public in Mali”, AfricaSpectrum, 99 (2), pp. 161-185.
Spitulnik, Debra, 1999. Producing National Publics: Audience Constructions and Electronic Media in Zambia. Durham, N.C.: Duke University Press.
Turino, Thomas, 2000. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press.
White, Bob W.
2000. “Modernity’s Trickster: Dipping and ‘Throwing’ in Congolese Popular Dance Music”, Research in African Literatures, 30 (4), pp. 156-175.
. “Le cauchemar d’Adorno”, L’Autre Forum. Université de Montréal. Fall.
2004. “The Elusive ‘Lupemba’: Rumors About Fame and (Mis) Fortune in Kinshasa”, in Theodore Trefon (ed.), Reinventing Order in the Congo: How people respond to state failure in Kinshasa. London: Zed Books.
Yoka Lye M.
1984. “Radio Trottoir: le discours d’inversion”. Ethiopiques, 3e semestre.
1995. Lettres d’un Kinois à l’oncle du village. Paris: L’Harmattan.
2000. Kinshasa, signes de vie. Paris, Bruxelles: CEDAF/L’Harmattan.