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Acknowledgments
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Acknowledgments This Project has its roots in an unDergraDuate honors seminar I took while a student at Pacific University in Forest Grove, Oregon, which first got me thinking about John Wayne in the context of globalization and U.S. power in the 1950s. So my first thanks should go to Jeffrey Barlow, who taught that course, and my professors at Pacific who helped me decide to be a researcher and teacher: Pauline Beard, Johanna Hibbard , Mike Steele, and Doyle Walls. As my interest in JohnWayne slowly developed into a dissertation topic and then a book, I was blessed with amazing support from my mentors at the University of Oregon: Kathleen Karlyn, Mike Aronson, and Sangita Gopal, all of whom have graciously submitted to watching some obscure John Wayne films. Their feedback and support was essential to this project, as was the work of my other dissertation committee members, Janet Wasko at the University of Oregon and Jon Lewis of Oregon State University. I had the privilege of conducting this research amid a wonderful community of film and media scholars whose intellectual, moral, and emotional support has made me a better scholar and helped this book come to fruition: Daisuke Miyao, Julie Lesage, Priscilla Ovalle,Tres Pyle,Carter Soles, Steve Rust, Kom Kunyosying, Jeong Chang, and Erica Elliot, among others. Several colleagues at the University of Idaho have provided feedback as this project has developed, including David Sigler, John Mihelich, and Traci Craig. Research for this project was supported by a number of grants, including the University of Oregon Center on Diversity and Community/Center for the Study of Women and Society Summer Research Grant, a Charles A. Reed Fellowship through the University of Oregon College of Arts and Sciences, the University of Oregon Graduate School Summer Research Grant, and a Univer- x | John Wayne’s World sity of Oregon Center for Asian and Pacific Studies Small Professional Grant. Thanks to all those organizations for helping make this project possible. Archival research was conducted at the Academy of Motion Picture Arts and Sciences’ Margaret Herrick Library and the University of Southern California ’s Warner Bros. Archive. Special thanks to Barbara Hall and Sandra Joy Lee Aguilar for helping me find traces of John Wayne’s international circulation in the archives. I would also like to thank the anonymous readers at the University of Texas Press who helped shape this project tremendouslyas it developed, and Jim Burr for his patience as the manuscript took shape. I’m not sure my family understands why I’ve spent so much time writing about John Wayne, but they have not let that fact dampen their excitement for my research. Special thanks to Ron Meeuf, Toni Meeuf, Marcia Pilgeram, and Casey Pilgeram for their many years of support. And thanks to Alden, who knows more about JohnWayne than any other five-year-old, and Will, who will become an expert on the topic of my next book. I probably could have written the book faster without you two, but it would not have been nearly as fun. And finally, thanks to my wife, Ryanne. It would be impossible to list everything you havedone to help me get to this point, so let me simply say thankyou. ...