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Acknowledgments
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Acknowledgments This is a lungfish of a book. It was born in the great oceans of celluloid, Mylar, and broadcast media of the previous century but adapted itself to life ashore on the vast beaches of computational media, games, and networks; this evolution, with its richness as well as eccentricities, has infused this book at every level. I would like to acknowledge the following people who have contributed directly or indirectly to the creation of this book. For the meticulous examples set in their own work and critical readings of early drafts and chapters , I would like to thank David James, Leo Braudy, and Marsha Kinder. My thinking about the materiality of cinema and its reciprocal relation to history has been indelibly shaped and inspired by Thom Andersen, James Benning, and Morgan Fisher. I am additionally grateful for key moments of intervention, support, and inspiration from Tara McPherson, Mark Williams , Anne Balsamo, and Greg Golley. For their extraordinary efficiency and personal attention, I am indebted to the editorial staff at the University Press of New England, especially Richard Pult, Amanda Dupuis, and Naomi Burns. My deepest gratitude is reserved for Robert Rosenstone and Marita Sturken, without whose foundational and genuinely transformative work in the fields of film, history, and cultural memory this book and the thinking it represents would not have been possible. This book is dedicated to the memory of Chick Strand, Anne Friedberg, and Kenneth Forbes Anderson, the colleagues, mentors, and family members I have lost in the time it has taken to complete this book, and the one I have gained, Ginger Miranda Anderson-Willis. It is beyond my ability to acknowledge the extraordinary insights, words, patience, and generosity that Holly Willis has brought to this project . If not for her, this book—and I along with it—would still be gasping for air in a primordial soup. [44.222.169.36] Project MUSE (2024-03-29 11:26 GMT) Technologies of History ...