Acknowledgments
I
Like most authors of books that take a long time to write, I have many
people to thank. Like most first-time authors, I don’t know how far back
to go with my thanking. But there are a few people without whom this
book simply would not be: these are easy. My grandmother, Elisabeth
Friedrich, taught me how to listen carefully to stories, no matter how
many times they are told. Without knowing it, she taught me the com-
plexity of memory, and of politics and the family. My uncle, Henning
Friedrich, helped to educate me more overtly in the layers of meaning
that accrue to history. He has, through the years, supported me in many
immeasurable ways. Cynthia Walk, my friend and mentor in graduate
school, nurtured me and this book through the first major phase of
writing it, as a dissertation. Jennifer Terry, with whom I shared my life
for most of the years I was writing, advised me on nearly every phase of
the process. There is not a single idea expressed in these pages that was
not in some way influenced by my discussions with her.
Many more people helped me work through portions of the book in
its various stages of development. Lauren Berlant gave me important
suggestions for chapter 6 and pointed me toward Preston Sturges for
chapter 2. Eric Smoodin lent me his copy of the Disney version of
Hitler’s Children and talked with me about chapter 7. Sharon Willis and
the other editors of Camera Obscura helped me shape parts of chapter 5.
This earlier version of the chapter appears as ‘‘Pressure Points: Political
Psychology, Screen Adaptation and the Management of Racism in the
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