ACknowledgments
I would like to thank warmly all those people who have responded to sec-
tions of this book at various stages, and who have supported me during the
time of its writing. I first began this project while at the University of Roch-
ester, where I found a generous and stimulating intellectual community at
the Susan B. Anthony faculty workshops and the Visual Studies rehearsals.
Sharon Willis was a generous and inspiring mentor during my time there, as
was Bette London, and I am very grateful for all their help. Douglas Crimp
has been a wonderful interlocutor and friend since I first walked into his
office. Jeannine Korman helped me through the day- to- day challenges of
my first film- teaching job, and the multimedia librarians at the University of
Rochester were absolutely indispensable. Rachel Ablow, Janet Berlo, Eliza-
beth Cohen, Ken Gross, Tom Hahn, Rachel Haidu, Rosemary Kegl, John
Michael, Russell Peck, and Jeff Tucker all helped to make Rochester a sup-
portive and exciting place to work.
My collaboration with Jean Ma on Still Moving was a terrific experience,
and I learned a great deal from her during that process that has helped me
think about this book. Jonathan Kahana and Jenny Horne not only came up
with more car crash cartoons and references than I ever imagined existed,
but they have also been incredibly generous to me over the last few years,
and I thank them for that. Callie Angell, Eduardo Cadava, Oliver Gaycken,
Rita Gonzalez, Tom Gunning, John McCoubrey, Caitlin McGrath, John
Mowitt, Melissa Rangona, David Rodewick, Marc Siegel, and Liliane Weiss-
berg have all made great suggestions along the way, and I am very grateful to
them, and to those people, whose names I don’t know, in conference audi-
ences who asked useful and challenging questions. Elizabeth Shepard at the
Cornell Medical School Archive was extremely helpful, and I am indebted
to her for making images and documents available to me. I am grateful to
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