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Acknowledgments i WOULD LIKE to acknowledge the following people for their assistance with my work. Charles Silver (Museum of Modern Art) and Rosemary C. Hanes (Library of Congress) allowed me to screen many of Keaton's films during the early stages of my research, when many of the films were not easily obtainable. Eleanor Keaton and Ron Pesch were of invaluable aid in providing me with access to Myra Keaton's vaudeville scrapbook. Joan Franklin and the Columbia University Oral His­ tory Project gave me access to their transcript of a 1958 interview with Buster Keaton. Mary Corliss and Terry Geeskin (Museum of Modern Art), Kristine Krueger (Academy of Motion Picture Arts and Sciences), and Adele Blinston (British Film Institute) assisted me with my search for film stills to illustrate my work. The Rackham School of Graduate Studies at the Univer­ sity of Michigan supported my research and writing through a generous fellowship. My research assistants at Purdue University, Kristen Tripp Kelley Mara Hesed, and Sarah Bay, helped me immensely during the revision process. Gerald Potterton graciously allowed me to interrogate him about his work with Buster on The Railroader when we were both stranded in an airport following a film conference. Special thanks to Bert Cardullo for his intellectual support and fervent editorial advice throughout this project. I would also like to thank Mike Gauger, Leigh Woods, Frank Beaver, and Enoch Brater for their comments on the early drafts of the manuscript. My editor Mary Murrell and readers Henry Jenkins and Charles Maland provided excellent suggestions for im­ proving the manuscript in its final stages. James Lastra and Richard Abel guided me in my search for surrealist writings on Keaton. My wife, Liz, has been, and continues to be, unbelievably patient and insightful in talking with me about my work. Thanks for helping me make sense of it all. The Theater and Cinema of BU5TER KEflTOn ...


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