An Invention without a Future: Essays on Cinema

Acknowledgments

ix Acknowledgments Different versions of several essays in this book were published elsewhere or were commissioned as public lectures. I am grateful to the following publishers and institutions: “Authorship, Auteurism, and Cultural Politics” derives from “Authorship and the Cultural Politics of Film Criticism,” in Film Quarterly (Fall 1990) and “Authorship,” in A Companion to Film Theory, ed. Toby Miller and Robert Stam (Oxford: Blackwell, 1999). “The Reign of Adaptation,” in a different form, appeared in Distinguished Lecturer Series (Indiana University Institute for Advanced Study, no. 10) and as the Introduction to Film Adaptation, ed. James Naremore (New Brunswick, NJ: Rutgers, 2000). “Notes on Acting in Cinema” was originally published as “Acting in the Cinema,” in The Cinema Book, ed. Pam Cook (London: BFI, 2005). “Imitation, Eccentricity, and Impersonation in Movie Acting” is a revised and expanded version of a lecture entitled “Film Acting and the Arts of Imitation,” presented to the conference of the Group for the Study of the Actor in Cinema at the Cinémathèque de Nice, France; the lecture was later published in the proceedings of the conference and in Film Quarterly (Summer 2012). “The Death and Rebirth of Rhetoric,” in a shorter version, was a conference paper in a panel organized at the Society of Cinema Studies in 2000 and later published in the online journal Senses of Cinema (April 2000). “Hawks, Chandler, Bogart, Bacall: The Big Sleep” originated as the keynote address for the Noir Festival at the New School in New York, 2011. It was also delivered at the Key Figures in Film Studies lectures sponsored by King’s College London and the British Film Institute; at x / Acknowledgments Middlebury College; and at the University of Iowa Annual Film Studies Lecture in 2011. “Uptown Folk: Blackness and Entertainment in Cabin in the Sky,” in a slightly different form, was published in Arizona Quarterly (Winter 1992). “Hitchcock and Humor” originally appeared in Strategies (May 2001). “Hitchcock at the Margins of Noir” was published in Alfred Hitchcock Centenary Essays, ed. Richard Allen and S. Ishii Gonzales (London: BFI 1999). “Spies and Lovers: North by Northwest” was the Introduction to North by Northwest, ed. James Naremore (New Brunswick, NJ: Rutgers University Press, 1993). “Welles, Hollywood, and Heart of Darkness,” under a different title, was a lecture at the University of Pittsburgh in 2007 and later published in True to the Spirit: Film Adaptation and the Question of Fidelity, ed. Colin McCabe, Kathleen Murray, and Rick Warner (New York: Oxford University Press, 2011). “Orson Welles and Movie Acting” is derived from “Orson Welles and the Direction of Actors,” in Action!, ed. Paolo Bertetto (Rome: Fondazione Cinema per Roma, 2007) and “The Actor as Director,” in Perspectives on Orson Welles, ed. Morris Beja (Boston: G.K. Hall, 1995). “Welles and Kubrick: Two Forms of Exile” was a lecture in the Symposium on Orson Welles and International Cinema at Yale University in 2007. “The Treasure of the Sierra Madre” is a revised version of my introduction to John Huston’s screenplay of the film (Madison: University of Wisconsin Press, 1979). “The Return of The Dead” was published in Perspectives on John Huston, ed. Stephen Cooper (Boston: G.K. Hall, 1994). “Andrew Sarris” is a revised version of “An ABC of Reading Andrew Sarris,” in Citizen Sarris, ed. Emmanuel Levy (Lanham, MD: Scarecrow Press, 2001). “James Agee,” in a shorter version, was presented as a lecture for the Graduate Colloquium in Cinema and Media Studies, UCLA, 2012. At the University of California Press I owe thanks to my editor, Mary Francis, for her patience, promptness, and wise responsiveness; to Lea Jacobs Acknowledgments / xi and the anonymous readers of the manuscript for their useful suggestions; to Rose Vekony for gracefully shepherding the book through production; and to copy editor Sharron Wood for her care and expertise, which saved me from many embarrassing errors. The following individuals were instrumental in giving me information or opportunities to publish essays and present lectures: Charles Affron, Mirella Affron, Richard Allen, Dudley Andrew, Sarah Cooper, Corey Creekmur, Christophe Damour, Rhidian Davis, Richard Dyer, Christian Keathley,Robert Lupone,Robert Lyons,Colin MacCabe,Kathleen McHugh, Jim Miller, Michael Morgan, Chon Noriega, Gilberto Perez, Robert Polito, Jonathan Rosenbaum, Robert Stam, Steven Ungar, Helene Valmary, Ginette Vincendeau, Christian Viviani, Rob White, and Susan White. This page intentionally left blank ...