Early research for this monograph was conducted when I was the Prowse Visiting Fellow at the Institute of Advanced Studies, Durham University, UK (October–December 2012). My thanks to everyone involved for their support and insightful input. This research was also supported by a grant from the Carnegie Trust for the Universities of Scotland, for a research trip to China (2012). I am grateful to former colleagues at the University of St Andrews and current colleagues at the University of Glasgow. I could not have wished for more supportive research milieus.
Thanks to Paul Laverty and Icí ar Bollaí n for generously speaking to me about Tambié n la lluvia. A huge thank you to David Deamer, Chelsea Birks, William Brown, Timothy Barker, Matthew Holtmeier, David Fleming, Robert Sinnerbrink, Dimitris Eleftheriotis, and David Archibald, and the combined efforts of the peer reviewers and series editors, for feedback on early drafts, as well as to Chelsea Birks (again!) for invaluable assistance in the book’s final stages. Thanks to David Sorfa for a chance to present this as a keynote at Film-Philosophy IV (2011); to Robert Stam and Ella Shohat for their kind invitation to the Transnational Cinema/Media Studies Conference at NYU Abu Dhabi (2014); to Matilda Mroz for Material Environments at Greenwich (2015); and to Robert Sinnerbrink for the Cinematic Ethics Symposium at Macquarie (2016). In addition, for invitations to present at research seminars at UNSW, Manchester, Manchester Metropolitan, Lancaster, Liverpool, Belfast, Durham, Newcastle, and Edinburgh, thanks to Michelle Langford, Felicity Colman, Anna Powell, Helen Darby, Richard Rushton, Robert Porter, Andrea Noble, Kerstin Oloff, Ann Davies, Dan Yacavone, James Scorer, Tom Whittaker, and Jill Bennett.
I am indebted to several colleagues who generously spent time discussing ideas in development: Alia Al-Saji, Dudley Andrew, Davie Archibald, Guy Austin, Frederic Brayard, Bruce Bennett, John Berra, Jennifer Biddle, Chelsea Birks, Lucy Bolton, Lorna Burns, Robert Burgoyne, Neil Campbell, Jenny Chamarette, Felicia Chan, Shohini Chaudhuri, Yun-hua Chen, Sinkwan Cheng, Felicity Colman, Paul Cooke, Amalia Cordova, Michael Crang, Sean Cubitt, Ann Davies, David Deamer, Rajinder Dudrah, Benoî t Dillet, Dimitris Eleftheriotis, Stuart Elden, Thomas Elsaesser, Pé ter É rdi, Christine Evans, Peter Evans, Clifton Evers, David Fleming, Armida de la Garza, Elisabetta Girelli, Zoe Graham, Inderpal Grewal, Barbara Graziosi, Francisco-J. Herná ndez Adriá n, Mette Hjort, Amy Holdsworth, Conn Holohan, Matthew Holtmeier, Heather Ingood, Dina Iordanova, Seung-hoon Jeong, Nike Jung, Tina Kendall, Anu Koivunen, Carl Lavery, Tarja Laine, Michelle Langford, Ji Young Lee, Tae Hun Lee, Robert Levine, Hsien-Hao Sebastian Liao, Laura McMahon, Patricia MacCormack, Gina Marchetti, Bill Marshall, Alex Marlow Mann, Matilda Mroz, Soledad Montañ ez, Jonathan Munby, Anna Munster, Andrea Noble, Kerstin Oloff, Darcy Paquet, Stefanie van de Peer, Yarí Pé rez Marí n, Adriá n Pé rez-Melgosa, Anat Pick, Patricia Pisters, Sandra Ponzanesi, Robert Porter, Ellen Rees, Tom Rice, Miriam Ross, Richard Rushton, Isabel Santaolalla, Kathleen Scott, Lisa Shaw, Ella Shohat, Robert Sinnerbrink, David Sorfa, Robert Stam, Veronica Strang, Rob Stone, Veronica Tello, Claire Thomson, Leshu Torchin, Maria Velez-Serna, Belé n Vidal, Joã o Luiz Vieira, Julian Ward, Chelsea Wessels, Catherine Wheatley, Udo Will, James Williams, Alison Wylie, Joshua Yumibe. Apologies, and thank you, to anyone I have missed.
Thanks most of all to my family, especially to Sol and Elena for putting up with so much absence.
Sections of the book develop upon, in significantly reworked form, the following previously published articles: ‘Trolls, Tigers and Transmodern Ecological Encounters’, Film-Philosophy, 20, 1 (2016): 63–103, published by Edinburgh University Press; ‘The Cinematic Temporalities of Modernity,’ Insights, 6, 1 (2013): 2–12; ‘Personal Museums of Memory’, Latin American Perspectives (Issue 188), 40, 1 (2013): 73–87 – thanks to Marí a Soledad Montañ ez for allowing me to re-use part of work we developed together; ‘Archival Landscapes and a Non-Anthropocentric “Universe Memory” in Nostalgia de la luz/Nostalgia for the Light (2010)’, Third Text, 27, 6 (2013): 707–722 copyright © Third Text, reprinted by permission of Taylor & Francis Ltd, www.tandfonline.com on behalf of Third Text. I am grateful to the respective journals and publishers for allowing me to rework and reprint these works in developed forms herein. I can say with confidence that what is found in these pages is, ultimately, a very different idea indeed. The book was briefly ‘trailed’ in the companion which initiated the Remapping World Cinema series, Rob Stone, Paul Cooke, Stefanie Dennison and Alex Marlow Mann (eds.), Routledge Companion to World Cinema (London: Routledge, 2017).