ACKNOWLEDGMENTS
I could never have finished this book without the encouragement and
help of my friends and colleagues. First and foremost, I would like to
express my deepest thanks to Masao Miyoshi, who has unstintingly
supported me since I was his student at the University of California, San
Diego. He taught me that expertise in any academic subject does not
have much value unless it is accompanied by intellectual integrity and
political commitment, and that disciplinary boundaries exist not to be
respected blindly but to be crossed and problematized. I am grateful to
Fredric Jameson for his encouragement and interest in my work. His
own work indelibly influenced the way I approach texts and construct
theoretical models. I am also indebted to Karatani Kojin personally and
intellectually. "Origins" of this book can be traced back to the research
I conducted while staying in his study in Tokyo. I thank him for his
hospitality and intellectual stimulation.
During the period of the direst predicament, Philip Lutgendorf and
Peggy Timm helped me focus on my work. Without the timely advice
and aid by Ruedi Kuenzli and Tom Lewis, I am not sure where I would
be right now.
I would like to thank Ted Fowler, who offered detailed comments
on the manuscript. Dudley Andrew and Abe Mark Nornes gave me
valuable criticism on portions of the manuscript. Satomi Saito's assis-
tance at the final stages of preparing the manuscript was indispens-
able. I wish to acknowledge Aaron Gerow, who made it possible for me
to have access to many indispensable books on Japanese cinema. Tom
Rohlich was always there to help me. I also benefited from two anony-
mous readers' comments and suggestions. At Duke University Press,
Reynolds Smith has been wonderfully supportive of the project since I
first submitted the manuscript.
Finally, I would like to thank Kana Kitsukawa. Without her sup-
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