Acknowledgments
Research and writing can often feel like solitary activities, but the end prod-
uct bears traces of the many friends, colleagues, family members, archivists,
and librarians who have enabled this project to come to fruition. The time
has come to thank them, formally.
Although I could undoubtedly go back further, my thanks begin with
three influential professors who encouraged me and shaped my thinking
while I was an undergraduate at Reed College: Jacqueline Dirks, Christine
Mueller, and Jaume Martí-Olivella. Those wonderful, formative years would
not have been as fruitful without them.
In graduate school at Brown University, where this project first took
shape, I found challenging and rewarding intellectual provocation from my
dissertation director, Mary Ann Doane, and from my other readers, Mari
Jo Buhle and Phil Rosen. Film research during those years wouldn’t have
been nearly as much fun without the encyclopedic brain and twisted humor
of Richard Manning, film archivist extraordinaire. I shared many seminars,
reading and writing groups, and film outings with my cherished friends in
grad school, but perhaps more importantly, we also shared many wonderful
meals and reminded each other when it was time to stop talking (and think-
ing) about work. For their intellectual camaraderie and friendship I thank
Kirsten Lentz, Karl Schoonover, Rosalind Galt, Jonna Eagle, Charlotte Bilte-
koff, Natasha Zaretsky, and Kristin Sollenberger.
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