ACKNOWLEDGMENTS
Many individuals and institutions have contributed to making this book
a reality. A special word of thanks goes to the librarians who assisted
me
in locating obscure primary sources and whose knowledge and ex-
pertise often go unrecognized: Mary Clare Altenhofen of the Harvard
University Fine Arts Library, Sommala Nouguerede of the Saint-Maur
Bibliotheque Municipale,)ean-Pierre Ranoux-Butte of the Musee des arts
d'Afrique et d'Oceanie, and Sharon Hill andJovanka Ristic of the Ameri-
can Geographical Society Collection at the University of Wisconsin-
Milwaukee. Jacques Boivin and director/producer Patrick Jeudy very
generously provided me with copies of their work.
Parts of this book originated in conference papers and seminars. I
thank Dudley Andrew and Steven Ungar who selected me as a partici-
pant in their 1991 N.E.H. seminar, "Film, Literature, and the Cultures of
Interwar France," which proVided an ideal collegial forum for the critical
exchange of ideas. I am also grateful to the audiences at the institutions
where I initially presented my work: Emory University, Smith College,
the University of Iowa, the University of Nevada-Reno, and the Univer-
sity of Wisconsin-Madison. Special thanks go to my first public au-
dience, the students-Beatriz Anton and Sarah Harley in particular-
who participated in my class "Indochina in French Cinema and Fiction."
Over the years, I have benefited from the support of a number of
institutions. A graduate school research grant from the University
of Wisconsin-Milwaukee allowed me to travel to France and conduct
research in archives in Paris and Aix-en-Provence. The Center for
Twentieth-Century Studies, under Kathleen Woodward's leadership, has
fostered an intellectual community that has always supported my en-
deavors. A fellowship at the Institute for Research in the Humanities
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