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x i A s the volume editor, I am grateful to a number of people for helping to make this book happen. Annie Martin, Acquisitions Editor at Wayne State University Press, provided her unwavering support for this project from the beginning. Professors Hilary Radner and Alistair Fox of the Department of Media, Film and Communication at the University of Otago in Dunedin, New Zealand, were wonderful hosts during the summer of 2007 and generously allowed their graduate students to work on this project. Two of those students, Ph.D. candidates Bronwyn Polashek and Pamela Fossen, devoted their research skills to tracking down many of the incomplete references in the original essays. Kristin Harpster Lawrence at Wayne State University Press ably oversaw the book’s production, David Alcorn of Alcorn Publication Design provided the excellent design and packaging of the book, and Linda O’Doughda was astonishingly diligent in her copyediting of the manuscript. My own Department of Communication, Popular Culture and Film at Brock University in St. Catharines, Ontario, Canada, provided me with the necessary time to complete the manuscript. Justine Cotton, a Humanities and Social Sciences Reference Librarian at Brock, helped me track down some of the most mysterious references. Richard Lippe generously gave me access to his impressive stills collection, as did my colleague Jim Leach to his personal library. Andrew Britton’s sister, Vanessa Fox, provided the information for her brother ’s biography. Malisa Kurtz provided invaluable assistance preparing the index, and Dan Barnowski applied his technical expertise to digitally scan and prepare all the essays from their original sources. Finally, thank you to Robin Wood, at whose suggestion this book came to be and without whom it would have been impossible. Thank you to the following journals for permission to reprint material which was originally published in their pages: CineAction.“Cary Grant: Comedy and Male Desire,” 7 (December 1986): 36–51; “A New Servitude: Bette Davis, Now, Voyager and the Radicalism of the Woman’s Film,” 26/27 (Winter 1992): 32–59; “Meet Me in St. Louis: Smith, or the Ambiguities,” 35 (August 1994): 29–40 (this essay first appeared in Australian Journal of Screen Theory 3 [1977] 7–25); “Alfred Hitchcock’s Spellbound: Text and Countertext,” 3/4 (Winter 1986): 72–83; “Their Finest Hour: Humphrey Jennings and the British Imperial Myth of World War II,” 18 (Fall 1989): 37–44; “In Defense of Criticism,” 3/4 (January 1986): 3–5; “The Philosophy of the Pigeonhole: Wisconsin Formalism and ‘The Classical Style,’” 15 (Winter 1988/89): 47–63; “The Myth of Postmodernism: The Bourgeois Intelligentsia in the Age of Reagan,” 12/13 (August 1988): 3–17; “Consuming Culture: The Development of a Theoretical Orthodoxy,” 19/20 (May 1990): 11–19. Acknowledgments 00 Britton FM.indd 11 1/17/12 10:33 AM x i i Movie. “Sideshows: Hollywood in Vietnam,” 27/28 (Winter 1980/Spring 1981): 2–23;“Blissing Out: The Politics of Reaganite Entertainment,” 31/32 (Winter 1986): 1–42; “The Exorcist,” 25 (Winter 1977–78): 16–20; “Mandingo,” 22 (Spring 1976): 1–22;“10, ” “The Great Waldo Pepper,” and “The Other Side of Midnight,” 27/28 (Winter 1980/Spring 1981):105–8, 66–70, and 73–77, respectively; “Metaphor and Mimesis: Madame de…,” 29/30 (Summer 1982): 93–107;“Thinking about Father: Bernardo Bertolucci,” 23 (Winter 1976/77): 9–22; “The Ideology of Screen,” 26 (Winter 1978/79): 2–28. Framework. “The Family in The Reckless Moment,” 4 (Autumn 1976): 17–24; “Sexuality and Power, or the Two Others,” 6 (Autumn 1977): 7–11,39; and 7/8 (Spring 1978): 4–11;“Living Historically: Two Films by Jean-Luc Godard,” 3 (Spring 1976): 4–15. “Detour” and “Betrayed by Rita Hayworth: Misogyny in The Lady from Shanghai” appeared originally in The Movie Book of Film Noir, ed. Ian Cameron (New York: Continuum, 1993),174–83and 213–21,respectively;and“Notes on Pursued”in The Movie Book of theWestern, ed. Ian Cameron (London: Studio Vista, 1996), 196–205. (The original, longer version of this essay appeared in Framework 2, no. 4 [1976]: 4–15.)“The Devil, Probably: The Symbolism of Evil” and“Jaws” appeared originally in The American Nightmare, ed. Robin Wood and Richard Lippe (Toronto: Festival of Festivals, 1979), 34–42 and 54–57, respectively.“Foxed: Fox and His Friends” appeared originally as part of “Fox and His Friends: An Exchange of Views by Bob Cant and Andrew Britton” in Jump Cut 16 (1977): 22–23.“For Interpretation: Notes Against Camp”appeared originally...

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