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xi Acknowledgments Many talented, resourceful, enthusiastic, and hard-working people have helped us get this exciting study of New England’s amateur film and filmmakers to press. First and foremost, we are deeply indebted to the volume’s authors, who have inspired us with the creativity and scholarly rigor they brought to material that is often shorn from its original contexts and relentlessly quotidian in its content and form. This volume has been a rich and rewarding collaborative endeavor across time and space, and we have appreciated every moment of the shared adventure. No serious analysis of amateur film could be undertaken without the vision and passion of moving image collection donors—the people who entrust their films to repositories where they can be shared, studied, preserved, interpreted, and appreciated. These donors have recognized the value of moving images produced and viewed by ordinary people; their foresight has helped to create a new way of interpreting and disseminating twentieth-century creativity. Similarly, repositories that collect amateur film, like Northeast Historic Film in Bucksport, Maine, have played a pivotal role in bringing this understudied cultural expression to a broader audience. Amateur Movie Making: Aesthetics of the Everyday in New England Film, 1915–1960 could not have appeared without the hard work of many people associated with Northeast Historic Film. Many thanks to Brook Ewing Minner, former executive director of Northeast Historic Film, and to founding executive director, David S. Weiss, whose leadership and deep commitment made the moving image archive a reality. We are particularly grateful for the work of Joe Gardner, who handled the original film for the project, documenting its physical characteristics , providing scholars with reference copies, and creating the many illustrations and digital moving images that accompany the volume. He was ably assisted by Karin Carlson and Amber Bertin. As this publication got underway, collection management was handled by Gemma Perretta Scott, with the assistance of Brian Graney and Katrina Dixon. Accessibility of the collections has been supported with funding awarded by the Cataloging Hidden Special Collections and Archives program of the Council on Library and Information Resources, with the support of the Andrew W. Mellon Foundation. Thanks also to Northeast Historic Film’s Theater,Distribution,MembershipManagerJaneDonnell,andBusinessManager Andrea Foster, preceded by Barbara Manning. The board of directors of Northeast Historic Film has supported the work of this volume from the beginning. xii | Acknowledgments Thanks to all who have served on the board, and especially founding board member Pam Wintle. Special thanks as well to Alice T. Friedman, Grace Slack McNeil Professor of the History of American Art at Wellesley College, whose enthusiasm for this project and understanding of its goals was backed up with significant material support from the Barra Foundation through the Grace Slack McNeil Program for Studies in American Art at Wellesley College. For their behind-the-scenes activities that helped produce this volume, we would also like to thank Dennis Doros, Raye Farr, Andrea Leigh, and Donna Ross. This work had its origins in an exhibition concept focused on the artifact and moving image collections of Northeast Historic Film. Libby Bischof and Justin Wolff were the first to engage wholeheartedly with that project and were joined in preparing our earliest concept documents and outreach by Sarah Ruddy, with support from the Golden Rule Foundation. A daylong screening with museum curators in 2012 helped to identify the need for a print volume focused on regional amateur film. Thanks to the following for their attendance, thoughtful commentary , and enthusiasm: Henry Adams, Steve Bromage, Liz Coffey, Susan Danly, Sian Evans, Michael Grillo, Erik Jorgensen, Michael Komanecky, Judy McGeorge, Rob Nanovic, Mark Neumann, Sarah Ruddy, Michael Simon, Earle Shettleworth Jr., Toni Treadway, Tricia Welsch, David Williams, and Steve Wurtzler. Darryl Czuchra , Josh Povec, and Phil Yates helped to create and record that successful event. Much of the scholarship in this volume builds on conversations fostered by the Northeast Historic Film Symposium, an annual gathering devoted to amateur film and home movies. Participants have included Jan-Christopher Horak, Sue Howard, Alan Kattelle, Heather Norris Nicholson, William S. O’Farrell, Rick Prelinger, Eric Schwartz, and Patricia Zimmermann. We are also grateful to our acquiring editor at Indiana University Press, Raina Polivka, and to the careful and insightful anonymous readers she engaged for the volume. Thank you to the press’s editorial and production team: Raina’s successor, Janice Frisch, Dan Pyle, Shannon Brown, Melissa Dalton, Rachel Rosolina , and Kate Schramm. They cheerfully tackled the complications of multiple publication platforms and...


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