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vii ACKNOWLEDGMENTS Writing this book has been both challenging and invigorating. Given that new technologies and movie distribution strategies emerge almost daily, the pace of change invariably seems to surpass the ability to research and document those changes. At the same time, I have been excited not only to observe this moment of media in transition but also to be connected to a vast scholarly network of researchers who have helped me to engage with this material. This project grew out of a moment of transition in film culture—the “indie crisis” that was addressed in Mark Gill’s 2008 Los Angeles Film Festival keynote address—and seeks to trace how different groups within the movie industry are adapting to the changes introduced by digital delivery. I am grateful to all of the colleagues and friends who have helped me through this process. Feedback on some of my written work from Charles Acland, Julia Lesage, Karen Lury, and Janet Wasko proved incredibly helpful as I was wrestling with many of the ideas in this book. Recent research with Max Dawson through the Connected Viewing Initiative has also helped me to look more specifically at highly localized media consumption practices. Discussions with the guys from the Riot Film Collective in a café in Madrid also proved helpful in my thinking about crowdsourcing and crowdfunding. Conversations with colleagues both at conferences and online consistently had an impact on my thinking. In particular, I would like to thank Pat Brereton, Jason Sperb, Jason Mittell, Derek Kompare, Elissa Nelson, Chris Becker, Nick Rombes, Rachel Thibault, Tim Anderson, Alissa Perren, Jennifer Holt, Amanda Lotz, Jonathan Gray, Jeffrey Jones, Ethan Tussey, Kim Owczarski, Henry Jenkins, Bill Wolff, Anne Helen Petersen, Brian Faucette, Yannis Tzioumakis, Eric Hoyt, Nina Huntemann, Catherine Grant, Matt Payne, Chris McConnell, Scott Eric Kaufman, Bob Rehak, Drew Morton , Steven Shaviro, Julie Levin Russo, Christopher Lucas, Tama Leaver, Richard Edwards, David Bordwell, Geoffrey Long, Michael Newman, Elana Levine, Edward O’Neill, Noel Kirkpatrick, Karen Petruska, Girish Shambu, Miriam Ross, Geoff King, David Gurney, Ted Friedman, Patrick Vonderau, Paul McDonald , Jihoon Kim, Skye Dent, Aymar Jean Christian, Josh Braun, Aynne Kokas, and Daniel Marcus. My colleagues from Fayetteville State University, especially Sonya Brown, Sarah Frantz, Brenda Hammack, Eric Hyman, Ed McShane, Micki Nyman, Dean Swinford, Carole Weatherford, and Alison Van Nyhuius, have consistently provided advice, suggestions, and support regarding the ideas in this book. I am also grateful for the support and enthusiasm I have received from Rutgers University viii Acknowledgments Press. Leslie Mitchner, in particular, has offered advice and steady encouragement for my work. Friends and family continue to offer support and guidance. Mike Duvall, Jim Hansen, Renée Trilling, Lara Vetter, and George Williams comprised part of my first genuine scholarly network and continue to be steadfast in providing friendship and advice. My parents, Charles and Glenda Tryon, and sister Kristen have never stopped providing encouragement and support, and my new extended family, Angela Blake, Russell Blake, Richie LaPierre, Erika LaPierre, Yasmine Haddad, and Ramsey Haddad have all graciously welcomed me into their lives. Finally, this book was written during a time of profound personal transition. Just days before I received my copies of my first book, I met my amazing wife, Andrea Biondi, who has offered a number of wise and skeptical observations about the future of movie distribution and has been unshakably patient, supportive, and enthusiastic about my work, but who also knows when I should step away from the computer and embrace the world around me. I will always treasure our time together, whether we are in a plaza in Barcelona, a mountaintop in Bogota, a beach in Costa Rica, or a café in North Carolina. No matter what, I know that we will always just keep walking together. Sections of this book have been published elsewhere. Part of chapter 3 was published as “‘Make Any Room Your TV Room’: Digital Delivery and Media Mobility,” in Screen 53.3 (Fall 2012). Part of chapter 5 appeared as “Redbox vs. Red Envelope, or What Happens When the Infinite Aisle Swings through the Grocery Store” in the fall 2011 issue of the Canadian Journal of Film Studies. Finally, the section of chapter 7 focusing on The Age of Stupid appeared in the 2011 issue of Jump Cut as “Digital Distribution, Participatory Culture, and the Transmedia Documentary.” I am also grateful to all of the anonymous readers who provided feedback on my work. Their comments sharpened my arguments considerably. I have also benefited...

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