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xix This book has been a long time in the making as I have searched far, wide, and somewhat obsessively for film manifestos over the course of the last few years. I was aided in this Sisyphean task by a great many people who passed on manifestos, provided hard-to-find articles and essays on manifesto movements, helped me track down the diverse and often obscure documents I needed, and discussed in detail their own thoughts and theories on film and moving image manifestos. Many thanks, then, to those who sent materials my way, answered emails, spent time talking about niches in film history with which I was relatively unfamiliar, and all in all made this book far better as a result of their collegiality and generosity: Hata Ayumi, John Belton, Moinak Biswas, Marcel Beltrán, Paul Coates, Donald Crafton, Scott Forsyth, John Greyson, Lillah Halla, Sharon Hayashi, Jennie Holmes , Eli Horwatt, Takahiko Iimura, Stephen Kent Jusick, Ali Kazimi, David Kidman, Chuck Kleinhans, Paisley Livingston, Alan Lovell, Tadeusz Lubelski, Scott MacDonald, Nicholas Mercury, Sahar Moridani, Laura Mulvey, Zuzana M. Pick, Paula Potter, Eric Rentschler, Sarah Schulman, Elena Pinto Simon, Martin Stollery, Ava Tews, Thomas Waugh, and Brian Winston. Joseph Ditta at the New York Historical Society generously located and passed along some hard-to-find material, as did Mike Hamilton at the University of Toronto’s Media Commons. I must also thank the film studies and production students in my 2006–2007 film theory class at York University, all of whom wrote manifestos and took part in a project called Manifest This! My two teaching assistants, Shana MacDonald and Aimée Mitchell, went above and beyond the call of duty, helping type out student manifestos, writing their ACKNOWLEDGMENTS xx • A C K N O W L E D G M E N T S own screeds, and co-organizing the Manifest This! launch-declamation event in which the students read out their manifestos (not on a soapbox but on a chair in a pub). I must also thank Aimée for pointing me in the direction of the Hye Bossin manifesto. Thanks also go to John McCullough, the head of film studies at York at the time, who allotted funds to print up the manifestos. The book benefited greatly from the Experimental Writing Workshop in 2011; the workshop is held each year in conjunction with the Independent Imaging Workshop (“Film Farm”) in Mount Forest, Ontario. The participants that year, Susan Lord and Mike Zryd, along with my co-organizer Janine Marchessault, helped structure the book and forced me to clarify many of my more extreme pronouncements (a process that goes hand in hand with writing on manifestos). Mike in particular compelled me to formalize my thoughts on “manifesto films,” a concept he thought outlandish and untenable (and one about which, of course, he might very well be right). For Mike and Susan’s collegiality, feedback, insights, friendship, and support, I offer my thanks. The book was completed as I took up a post at Queen’s University. My new colleagues in the Department of Film and Media deserve thanks for combining intellectual stimulation and generous conviviality. Many friends, colleagues, and collaborators have played a central and ongoing role in the development and realization of this book. Thanks go first to Mette Hjort, as the work we did together on both national cinemas and Dogme ’95 led me to consider the role of manifestos more generally in film culture. Thanks also to Bill Wees, whose course on the history of avant-garde cinema introduced me to avant-garde, experimental, and found footage film when I was an undergraduate at McGill. Having shared countless taco lunches with me over the past fifteen years, Bill has been a key resource for all things avant-garde, including introducing me to many of the manifestos that populate these pages. He’s also been a great friend. Brenda Longfellow’s friendship, acuity, and solidarity, over many glasses of red wine, were indispensable components in the completion of the book and in thinking through the political implications of many of the manifestos contained herein, especially those related to feminism and third cinemas. Anna Stenport also deserves a great deal of thanks for motivating me in her resolute and tenacious way to get this project finished, so I could move on to the next one, with her, on the Arctic. As the book was cascading to its conclusion, Anna read through all the introductory material for each chapter...


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