A
c k n o w l e d g m e n t s
All scholarly works spring from a subjective position, however e
or difficult to map. In media studies we write about the films we lo
the institutions we hate, the histories that have excluded us, the spa
of identification with whatever subject we are in the process of d
covering, uncovering, recovering. When I think about what has (su
jectively) driven my own work here and what also drives my dedi
tion, in part, to the memory of my grandma (Frieda Emily Gaenss
Horton), I think about the nooks and crannies of her house.
grandma was a pack rat, and I would hazard to say that all pack r
are historians of a sort, their collections endeavoring to stop time
hold ephemerality in abeyance, to sustain a present life for the pa
Some of my grandma’s collections were displayed, others categori
and tucked away, some packed in boxes in the basement, others
the cupboards and shelves lining the basement stairs. I spent mu
of my visits with her in a state of investigation and discovery, som
times with her at my side to narrate this or that history and sometim
ensconced in semisecrecy, ever seeking clues to my family history
The acknowledgments therefore map a personal and professio
history of a work, and much of this history (and mapping) is indeb
to my family. First and foremost, I would like to thank my mom, Cl
dette Hastie Beahrs, for her unconditional support of my work.
dad, Frank B. Hastie Jr., and my stepdad, John Beahrs, also had
encouraging enthusiasm and belief in this work. My brother M
built both a wing on his house and a perfectly scaled dollhouse
his daughter Katie in the time it took me to finish one chapter;
brother Bow produced a body of art and wrote a book over the ye
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