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ix acknowledgments i am enormously grateful to each of the writers who contributed to this volume—michelle, Joanna, theo., rocío, Penny, Joseph, dean, susan, cynthia, and molly—for both their fine scholarship and their spirit of collaboration. in particular, i owe special thanks to molly mcGlennen for articulating the importance of the collection, and to theo. Van alst for our engaging discussions. and i am profoundly appreciative of dean rader, to whom in Puerto Vallarta, mexico, in 2000, i first presented my ideas about american indian visual culture (he listened!). i am indebted to him for his contributions to this volume, and i continue to value the ongoing conversation with him, having come to greatly admire his unique blend of incisive wit and ease of manner. i am especially grateful to the indigenous filmmakers and artists who created the important body of work discussed in this volume. these frontline activists, if i may so call them, understand the scope of historical representation of indigenous peoples and, importantly, help to show us the distinctions between lived identities and identities that are manufactured out of fiction, television, film, and popular art—and the problematic and productive tensions that coalesce around perceptions and receptions. this volume is made possible by Gabe dotto and the many helpful individuals at michigan state university Press, all deserving of my praise and thanks. i am grateful to Gordon Henry, in particular, for recognizing the potential of the collection and fostering these kinds of studies in popular media, and to Julie loehr, my editor, and travis Kimbel, Kristine Blakeslee, and annette tanner, who helped me prepare this volume. i also thank the anonymous readers of the manuscript who offered excellent suggestions for its improvement. in addition, i wish to acknowledge rollins college, the department of critical media and cultural studies, the Film studies program, and lisa m. tillmann. i also express my appreciation to my students in native american media and cultural studies for their fresh insights, and to lee lines, who has influenced my thinking about film, indigeneity, and the centrality of place in important ways. x| Acknowledgments my heart-felt and profound thanks are a must, as well, to my parents, Joan and ed noto, for their unflagging encouragement. i thank them, along with the Power family, Joyce nico, and dick and eugenie schott—all for providing me with spaces within which to think about, write, and edit this volume. Finally, i thank J.e.K., for listening. ...

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