Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema

Acknowledgments

ix Acknowledgments  F irst off, I wish to give heartfelt thanks to the colleagues who read chapters of this work in various stages and generously offered invaluable commentary and feedback. The rigorous critiques and encouraging advice of the following individuals were especially key: Mark Sandberg (a wise and inspiring mentor), Carol J. Clover, Linda Haverty Rugg, Linda Williams, Elisabeth Oxfeldt, and John Fullerton. Your expertise and enthusiasm made this book much stronger. I wish to also thank the many other colleagues in Scandinavian studies and cinema studies whose questions, comments, and insights at conferences and elsewhere all contributed vitally to the larger book project. Special thanks go to Larry Chadbourne, Sylvia Chong, Michael Coleman, Thomas DuBois, Allyson Field, Brigid Gaffikin, Lotta GavelAdams , Bo Florin, Chris Holmlund, Laura Horak, Ursula Lindqvist, Tamao Nakahara, Diane Negra, Christopher Oscarson, Misa Oyama, Birgitta Steene, Anna Westerstahl Stenport, Casper Tybjerg, Sonia Wichmann, Rochelle Wright, and Solveig Zempel. Warmest thanks also to my colleagues in the Scandinavian Section at ucla: Mary Kay Norseng, Ross Shideler, Timothy Tangherlini, and Kendra Willson. An earlier version of chapter four (“Garbo Talks!: Scandinavians, the Talkie Revolution, and the Crisis of Foreign Voice”) was previously published in article form in the anthology Screen Culture: History and x acknowledgments Textuality in the Stockholm Studies in Cinema series. Kind thanks to John Libbey Publishing for permission to publish that article in revised form. Various chapters in development were presented at a number of conferences, including annual meetings of scms (Society for Cinema and Media Studies) and sass (Society for the Advancement of Scandinavian Study), and at the “Border Crossings: Rethinking Silent Cinema ” conference in Berkeley in 2008. The wide-ranging scope of this study would not have been possible without the kind assistance and cooperation of research archives and individuals in Scandinavia and the United States. In the Nordic countries, I wish to thank the following institutions and individuals: John Fullerton and Jan Olsson at the Department of Cinema Studies at Stockholm University; the archive and library staffs at the Swedish Film Institute in Stockholm and the Norwegian Film Institute in Oslo; and Thomas Christensen and staff at the Danish Film Institute in Copenhagen . In Los Angeles, many thanks to the following for their expert assistance: Barbara Hall, Faye Thompson, and everyone at the Margaret Herrick Library and Fairbanks Center for Motion Picture Study research site of the Academy of Motion Picture Arts and Sciences; Ned Comstock and the personnel at the Cinematic Arts Library and the Warner Bros. Archives at the University of Southern California; and the ucla Film and Television Archive and the ucla Instructional Media Collections and Services. Finally, I would like to warmly thank the following people at University of Washington Press: coeditors Terje Leiren and Christine Ingebritsen, for their visionary development of the New Directions in Scandinavian Studies series; the two readers whose in-depth constructive criticism and advice greatly benefited the manuscript; copy editor Kerrie Maynes, for helping make the book much more precise and less subject to minor errors than it might have been otherwise; and to my editor, Jacqueline Ettinger, for her patient, professional, and enthusiastic guidance of the manuscript to its published completion. And last but not least, I wish to thank my wife, Sharen Manolopoulos, for all her love and support and for making our life journey together such great fun. nordic exposures ...