Over the last few years, many people have helped me to think more care-
fully about animation, and their ideas and suggestions have given energy
and life to this book. First, I am grateful to the volume’s wonderful con-
tributors. They have all been eager and inspired participants from the
very beginning, and I thank them for their intellectual vibrancy, good
humor, and grace. What a pleasure it has been to work with each one.
Thanks also to the volume’s three readers—they gave great advice and
enthusiastic support. Lacey Baradel helped me prepare the manuscript
with meticulous care and incredible efficiency, and I am most grateful to
her. In addition, I’ve had the good fortune to consider the topic of ani-
mation in a number of different venues and with a variety of interlocu-
tors. These include Dudley Andrew, Nancy Davenport, Erna Fiorentini,
Maureen Furniss, Vinzenz Hediger, Joshua Mosley, Susan Napier, Jayne
Pilling, Dana Polan, Jason Potts, Bella Honess Roe, Marc Siegel and his
students, Vivian Sobchack, Sheila Sofian, Dan Stout, Orkhan Telhan,
Rick Warner, Paul Wells, the members of the 2012–13 Penn Humanities
Forum, the participants of the Enchanted Drawing conferences (parts I
and II), and the members of the “Art of Animation” seminar. Duke Uni-
versity Press has been enthusiastic in its support of the project since
its inception, and I’m especially grateful to Ken Wissoker and Elizabeth
Ault. Penn’s Program in Cinema Studies and the Department of the His-
tory of Art have provided me with collegial and thought- provoking envi-
ronments for almost a decade, and I appreciate all my colleagues’ friend-
ship and support. In Cinema Studies, I am especially fortunate to be able
to work with Tim Corrigan, Peter Decherney, Kathy DeMarco Van Cleve,
Meta Mazaj, and Nicola Gentili. Dean Rebecca Bushnell and Provost
Vincent Price could not have been more supportive during my time at
Penn, and I thank them for their constant encouragement. I also thank
Acknowledgments
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