Acknowledgments
I want to say in advance how inadequately the following bare lists of names
convey the depth of my gratitude to each and every person named for his
or her contribution, large or small. An anthropologist really does depend
in the most profound way on the kindness of strangers, and every name
noted below carries a history of some act(s) that, at a given moment, or
throughout the project, made all the difference in the world.
First thanks go to (chronologically) documentary filmmaker Murray
Nossel, producer and studio executive James Schamus, and screenwriter
John Romano, all of whom patiently gave me their time in the very earliest
stages of the project, and helped me begin to define what this project could
and could not be.
Also in the early stages of the project, when I knew virtually no one in
the industry, I relied on friends and relatives who in turn had friends and
relatives in the industry, and I thank them all for the contacts and connec-
tions they gave me: Leo and Dorothy Braudy, Alice Kessler Harris and Bert
Silverman, Fran Markowitz, Chuck Ortner, Karen Seeley, Elaine Showal-
ter, and Amy Swerdlow.
And again in the early stages, I plucked up my courage and cold-contacted
professors in the ucla School of Theater, Film, and Television (tft). I
expected condescension at best. Instead, I received a warm welcome and
the beginnings of a process of ongoing support that lasted throughout the
project. I want to thank Barbara Boyle, Kathleen McHugh, Bob Rosen, and
Vivian Sobchack for their wonderful collegiality, and especially John Cald-
well, who was extraordinarily supportive and helpful in more ways than I
can count.
Once I broke in and began interviewing key people in the world of
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