ACKNOWLEDGMENTS

This volume developed in the best sense as a group project, and my deepest gratitude for their guidance and participation goes to the Film Quarterly editorial board members—Leo Braudy, Ernest Callenbach, Brian Henderson, Albert Johnson, Marsha Kinder, and Linda Williams—without whom this book, both in concept and in form, could not have appeared. Board member and co-editor Brian Henderson brought his long history with FQ and a wonderful intellectual rigor and imagination to the introductions he wrote for this volume; I value the time we worked together and the contribution he made. I must also make particular and affectionate mention of FQ 's founding editor, whose editorial sense and sensibility is reflected throughout this selection: Ernest Callenbach's generosity to me is constant and his example an inspiration. And I'm sure he joins me in gratitude not only to those authors whose writings appear in these pages, but also to the many authors who have contributed their work to the journal over the years; they have made FQ a fine publication indeed.

For their invaluable assistance with film stills, all thanks go to Nancy Goldman and Jason Sanders at the Pacific Film Archive, Mary Corliss and Terry Geesken at the Museum of Modern Art Film Stills Archive, and Robert Haller at Anthology Film Archives. My thanks also to Rebecca Simon and the staff of the Journals Department at the University of California Press for their patience and support, and to Ed Dimendberg, former humanities editor at the press, for his calmly dispensed words of advice and reassurance. And, though definitely not last, to my invaluable assistant and researcher, Lee Amazonas, heartfelt thanks for her hard work in hard times.

A note about editing: it was decided to publish these articles in their original form, which basically meant "warts, inconsistencies, and all." Proofreader/copy editor Virginia Clark—whose work was, as usual, impeccable—was thus forced to see many of her thoughtful changes and suggestions rejected. Errors have, of course, been corrected and inconsistencies resolved when they might have caused confusion; where errors and confusing inconsistencies still occur, the fault is mine.

Frame enlargements and film stills are included by courtesy of the following: Pacific Film Archive, the Museum of Modern Art Film Stills Archive, Anthology Film Archives, Twentieth Century Fox, Turner Entertainment, Paramount Pictures, Warner Bros., Columbia Pictures, Universal Pictures, Les Filmes Galaxies, Greenwich Film Productions, First Run/Icarus, New Day Films, Miramax Films, New Yorker Films, Zipporah Films, Clarity Films, Canyon Cinema, California Newsreel, Third World Newsreel, China Film Imp/Exp LA, the Academy of Motion Picture Arts and Sciences, UC Media, Ken Stein, Mark Lipson, Bruce Baillie, and L. Roger Turner.

Not all photos included in the original publication of the articles could be found and included despite efforts made to locate and acquire them; our thanks to the many contributors who provided assistance (and, in some cases, the original photographs). In a few instances, where illustrations seemed necessary and the originals were unavailable, similar photographs have been included in their place. Every effort was also made to track down contributors and notify them of their inclusion in this anthology; where we were unsuccessful, we apologize.

ANN MARTIN
BERKELEY
JUNE 1998