ACKNOWLEDGMENTS
In writing this book I have received advice from many people and financial
support from several institutions. Research trips to Argentina were made
possible by grants from the University of Cambridge, the Centre of Latin
American Studies, and Robinson College. In Buenos Aires a number of
people assisted my research. I would particularly like to thank the help-
ful and generous library sta√ at the Instituto Nacional de Cine y Artes
Audiovisuales; Daniel Sendrós and sta√ at the Museo del Cine Pablo C.
Ducrós Hicken; Sylvia Valdés and Marcelo Albónico from the Universidad
de Palermo; the Press O≈ce of the Buenos Aires Festival de Cine Inde-
pendiente; Julia Choclin at Arte Video who helped me source a number of
films; and several directors and producers who kindly gave me copies of
their films which were not commercially available at that point, including
Daniel Burak, Albertina Carri, César D’Angiolillo, Gustavo Fontán, Aldo
Paparella, Raúl Perrone, Ana Poliak, and Lita Stantic.
Laura Podalsky and Michael Chanan made valuable comments on the
manuscript, and I appreciate their time and perspicacity. I am very grateful
to Geo√rey Kantaris for introducing me to Argentine film a number of years
ago and for his support since then. I would also like to thank my postgradu-
ate students at the Centre of Latin American Studies in Cambridge over the
past few years—including Philippa Page, Lauren Rea, Ed King, and Jordana
Blejmar—who have shared my enthusiasm for Argentine literature and
cinema and whose ideas have challenged and shaped my own. I owe a
special debt of gratitude to friends and colleagues at Robinson College,
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