In lieu of an abstract, here is a brief excerpt of the content:

Acknowledgments COUNTLESS UCLA faculty, students, and staff helped me move this project through the dissertation phase. Nick Browne patiently saw me through many intellectual and practical crises.Robert Rosen was my guardian angel. Without the generosity and insights of Gyula Gazdag, I could not have written the chapter on Istvan Szabo. Jim Friedman gave advice and support during the search for a publisher. Chon Noriega, Peter Wollen, Janet Bergstrom, Teshome Gabriel, Marina Goldovskaya, and Saul Friedlander also gave intellectual and professional support, as did many of the staff at the Department of Film and Television and at the Arts Library. For discussion and feedback, thanks to Micah Kleit, Janet Walker, Deborah Lefkowitz, Yael Danieli, Pier Marton, Anton Kaes, and Jennifer Moore. Istvan Szabo graciously allowed me to interview him. Suzanne Regan of the Journal ofFilm and Video offered kind words, and published my article on Szabo. Larry Wilcox and Peter Rollins included an article containing parts of the first two chapters in Film and History, and E. Ann Kaplan and Ban Wang are reprinting it in their forthcoming volume , Trauma, Memory, and Modernity: Histories in Trans-National Media. Bill Nichols and Sonja de Leeuw encouraged me to test out some ideas at the sixth Visible Evidence Conference in San Francisco in 1998. The students in my course on Film and the Holocaust at the University of California , Riverside provided excellent questions and ideas that helped me to clarify some of my arguments. The UCLA Film and Television Archive, the Simon Wiesenthal Center , the National Center for Jewish Film, and the Hungarian Film Archive gave me access to films. Thanks to Zoe Burman, who shared her knowledge of archival footage of the Holocaust; Steve Varady, who kindly gave me access to his amazing collection of Hungarian tapes; and Bruce Cathcart, who gave generously of his time, knowledge, and equipment to produce stills for the book. xv Copyrighted Material xvi Acknowledgments Numerous people have gotten me through this project by giving love, companionship, discussion, child care, and money-and often just by listening: Elizabeth Hirsch, Frances Olan, Karen Wongking, Lillian Horwitz, Nathan Horwitz, Ann Horwitz, many family members and friends-and especially Ruth Horwitz, who has sustained me in the most profound sense, and sacrificed more than anyone. Four individuals made special contributions that transcend the boundaries of the personal, the intellectual, and the professional. Daniel Bernardi's intellectual generosity and persistence made a tremendous difference in my original conception of the dissertation. His advice helped me through many a crisis, and he brought the book to Temple University Press. Lionel Joseph listened, read, shared his knowledge of trauma and his love of film, and fussed with great affection and humor. Zsuzsanna Ozsvath has been an ideal and compassionate mentor in my study of Hungarian history and culture. My father, James Hirsch, is on every page of this book. He is, in a sense, its co-author. Copyrighted Material ...

Share