Art in the Cinematic Imagination

Acknowledgments

Acknowledgments Although this is putatively a single-authored volume, many besides myself contributed to its realization. It seems it takes a village to make a book. At Southern Illinois University Carbondale, where I have taught in the Department of Cinema and Photography since 1998, I have been the happy recipient of grants that supported my research from several sources, including the Office of Research and Development Administration, University Women’s Professional Advancement, and the College of Mass Communication and Media Arts. For the support of my dean, Manjunath Pendakur; my department chairperson , Bill Rowley; the director of graduate studies, Tom Johnson; and many other colleagues, I am most grateful. It is impossible to convey in list form the affection and respect I feel for a number of students (most of them graduate students) whose invaluable assistance —with tasks including clerical projects, photographic and videographic reproduction , translation, research, and the teaching assistance that always helped free me for research—I have benefited from during the course of this work.They are Farshad Aminian, Monica Bandholz, Marty Camden, Kurush Canteenwala , Rachael Carlson, Vaidehi Chitre, Katie Coleman, Phil Hastings, Jeffrey Hill, Eva Honegger, Virginie Lamarche, Nate Mahoney, Tom Mogle, Maria Richeva, Chris Sato, Anastasia Saverino, Rebecca Sittler, Anna Velitchkova, Ippei Watanabe, Tommie Xie, Wei Zhang, John Ziniewicz, and the positively heroic Michael McDonald (a mensch!), who lent expertise he had and time he didn’t to helping solve a particularly sticky problem. I thank my departmental support staff, Tommie Rayford and Rhonda Rothrock , for so much help over the years and am especially grateful to Kevin Koron, whose good-natured assistance and technical prowess have helped me out of many a fix. Colleagues at SIUC and other scholars who contributed thoughts, feedback, and vital information include David and Erin Desmond Anthony, Ed x Art in the Cinematic Imagination Brunner, Kevin Dettmar, Liz Kotz, Cheryl Bray Lower, Eva Nikolova, Tina Wasserman, and Clarisse Zimra. While most of the content of this book is the result of research undertaken in the past six years at SIUC, a couple of the chapters first appeared in somewhat different forms quite a long time ago, and before my first book, when I was in graduate school. It was back then, too, that I first saw more than a few of the films discussed herein and began to develop an analysis of them, often in the company of Glenn Korman and Beth Harris Ugoretz, the latter of whom I wish to acknowledge for the many passionate discussions with her that echo throughout this volume. I wish to thank, too, the organizers of conferences, conference sessions, and colloquia and editors of journals and books who invited me to present and publish earlier versions of some of these chapters, or work preliminary to them.They include Peter Brunette and David Cast, organizers of sessions at College Art Association annual conferences (1991 and 1999, respectively); Dudley Andrew and James Lastra, organizers of ‘‘Painting and Photography in the Light of Cinema,’’ University of Iowa, 1991; Paul Roth and Frank Grady, ‘‘Violence, Cinema and American Culture,’’ University of Missouri–St. Louis, 2001; Noah Lopez and Tim Anderson, ‘‘Hollywood and Its Discontents,’’ Universityof Arizona , 2001; Suzanne Daughton, who invited me to speak to the SIUC Speech Communication Proseminar in 2002; Paul Young and Devoney Looser, who invited me to speak to the University of Missouri’s English Department Colloquium in 2003; and Kristi McKim, organizer of a session at the Society for Cinema and Media Studies in 2003. At these venues, various interlocutors contributed questions and comments that helped shape the future course of my study. I thank them. Earlier versions of several chapters herein have been published previously, and I would like to thank all those involved for their permission to publish these materials in their present revised form. Earlier versions of chapters 1, 5, and 7 were published in Iris, Camera Obscura, and Film Quarterly, respectively. I remain especially grateful to Marc Vernet, who invited me to add my contribution to the special double issue of Iris that published proceedings of ‘‘Le portrait peint au cinéma,’’ a conference he and Dominique Païni organized for the Louvre in April of 1991. I should also like to expressly acknowledge the very professional and personable Ann Martin, editor of Film Quarterly. A shorter, earlier version of chapter 6 appears in Steven Schneider, ed., New Hollywood Violence (Manchester University Press, 2004). I have considerable debts to Brigitte Peucker, whose work I...