ACKNOWLEDGMENTS
From first fancy to final form, fabulous facilitators and formidable sparring
partners have been highly influential for my attempt at serving up the Hitch-
cock brand. Lynn Spigel got me under way when she invited me to teach a
Hitchcock seminar at Northwestern University. Throughout, she has acted as
a veritable champion for the project. Ken Wissoker at Duke University Press
discreetly steered the process from first pitch to book design with unfailing el-
egance. For the masterminding of the final hands- on process and copyediting,
I’m beyond grateful for having had Liz Smith in my corner. Her unfailing
sense of style and graceful attention to matters big and small are nothing
short of superb. During the cumbersome process of securing rights for the
book’s figures, Elizabeth Ault was a rock when I needed one.
The resources at Northwestern University, especially the efficient Inter-
library Loan Division and the many digital resources on campus, have been
essential for my research. In the triangulation of Hitchcock beyond Evanston,
the fantastic staff of the Margaret Herrick Library at the Academy of Motion
Picture Arts and Sciences, especially Barbara Hall (during her tenure) and
Faye Thompson, have been model archivists as always—and the New York
Public Library, particularly the cheerful young staff in the Microforms Read-
ing Room, as well as their colleagues at the branch for the Performing Arts at
Lincoln Center, went beyond the call of duty to gratify my scholarly appetite.
From my perspective, no one can write a film book without regularly
consulting Ned Comstock at the Cinematic Arts Library at the University of
Southern California. He cannot be praised enough for pertinently sharing his
vast knowledge of the collections and film culture at large. I have also bene-
fited immensely from his colleague Dace Taube and her unrivaled command
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