acknowledgment
Thanks to Eric Smoodin for encouraging this book in the first place and
Ken Wissoker and Duke University Press for making it happen. Many s
dents in many classes at uc Irvine and uc Berkeley—and not only those w
have contributed to this volume—have helped me to better understand
cultural and historical importance of moving-image pornographies. Spec
thanks to Heather Butler, whose research and enthusiasm have contribu
enormously to all aspects of this volume, including the annotated bibliog
phy. Final thanks to many colleagues in ‘‘porn studies’’: Peter Lehman, w
was an insightful reader of the manuscript, and Rich Cante, Angelo Resti
Constance Penley,Tom Waugh, and Eric Schaefer, all of whom I am honor
to include in this volume.
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