THIS BOOK BEGAN at the University of Southern California, where I was fortunate to study under the direction of two inimitable scholars and mentors, Vanessa Schwartz and Anne Friedberg. I want to thank Vanessa, first and foremost, for her unwavering dedication to the project in all its phases. She encouraged my turn to the history of technology and to all things French, and she has pushed my work to greater heights by being both its fiercest supporter and, just as importantly, one of its toughest critics. I first recognized that I had an idea for a book like this during a conversation about architecture with Anne at the California Science Center in the spring of 2007. With some trepidation, I proposed an architectural history of the Black Maria. I’ll never forget Anne’s enthusiastic response; I only wish I could see her reaction to the book it became.
I am indebted to many others for their support and contributions. At USC, Akira Mizuta Lippit, Priya Jaikumar, and Steve Ross offered generous feedback. Valuable advice and encouragement at conferences and other presentations came from Jonathan Auerbach, Ed Dimendberg, Noam Elcott, Phil Ethington, Jane Gaines, Saverio Giovacchini, Anne Higonnet, Kara Keeling, Rob King, Brian Larkin, Richard Meyer, Vivian Sobchack, and Kristen Whissel. At Oklahoma State University and the University of St Andrews, I received generous support from my colleagues, especially Jeff Menne and Tom Rice who read portions of the manuscript in progress.
It has been a pleasure to work with the team at Columbia University Press. I would like to thank Jennifer Crewe and John Belton for taking an interest in my project; the anonymous reviewers for their close attention to the manuscript and valuable feedback; Roy Thomas for his impeccable work and guidance; and Kathryn Schell for steering me through the process.
Many archivists and librarians provided invaluable assistance during my research. I am thankful for the support of the teams at the Bibliothèque du film, the Musée Gaumont, the Archives de Paris, the Fondation Jérôme Seydoux-Pathé, the Bibliothèque historique de la ville de Paris, the Thomas Edison National Historical Park, the Museum of Modern Art Film Study Center, the Margaret Herrick Library, the Bronx Department of Buildings, and the Los Angeles Department of Building and Safety. For their exceptional generosity, I thank Régis Robert and Karine Mauduit at the Bibliothèque du film, Mélanie Herick at the Musée Gaumont, Paul Israel at the Thomas A. Edison Papers Project, and Leonard DeGraaf at the Thomas Edison National Historical Park.
Funding from numerous institutions helped make this book possible. A Fulbright Fellowship allowed me to conduct research in Paris. The Social Science Research Council’s International Dissertation Research Fellowship and Dissertation Proposal Development Fellowship, both with funds from the Andrew W. Mellon Foundation, supported research in France and the UK.
Chapters 1 and 2 include revised portions of essays first published in History and Technology 27.2 (Routledge, 2011) and Early Popular Visual Culture 8.2 (Routledge, 2010).
I’ve had the good fortune and great pleasure to research and write this book in a community of supportive friends and colleagues. Very special thanks go to James Leo Cahill, Ryan Linkof, Raphaelle Steinzig, Mike Godwin, Erin Sullivan, Joel Maynes, Brian Adam Smith, Anderson Blanton, Seth Wood, Ariel Ross, Michael Boaz, and Amy Wallace. My family’s unfailing support and love made this book possible. I dedicate it to my parents.
Finally, thanks beyond words go to Catherine Clark, whose knowledge, wit, and keen eye have shaped every page. Our walks and runs, endless puns, (just enough) apéros, and (not quite enough) adventures have kept me going. Ready? On y va!