First of all, I must thank the contributors who have been there from the start for their patience with the preparation of this volume which, beginning with Peter Brunette’s death, encountered a series of obstacles and delays. And for those who joined along the way, many thanks for your willingness to participate.
Emilia Griffin provided excellent translations for the Italian‐language essays, and Zipporah Weisberg offered timely and enthusiastic copyediting support. Since virtually all the contributors offered invaluable advice regarding potential new contributors and/or priceless input on contemporary issues in Italian cinema studies, I refer the reader to the “Notes on Contributors” for my thanks on these matters! However, I will single out those who were called upon and responded well above the norm: Marguerite Waller, Millicent Marcus, Louis Bayman, Chris Wagstaff, Alan O’Leary, Tiziana Ferrero‐Regis, Áine O’Healy, Stefania Parigi, Barbara Corsi, and Peter Bondanella. Catherine O’Rawe, though unfortunately not a contributor, always heeded pleas for help.
Jayne Fargnoli has been the kind of editor about whom one can only dream: supportive, kind, positive, and present in a thoroughly enabling way. My project editor for most of this journey, Julia Kirk, offered an uncannily constructive combination of accountability and encouragement. Denisha Sahadevan has kept on top of the manuscript logistics that remained when she replaced Julia.
I owe special thanks to my Lucchesi friends. Romano Giammattei gave me the gifts of the Italian language and his friendship. He, along with Fellini, has been a foundational figure in my Italian experience. Marco Vanelli, whom I first met so appropriately in a Lucca video store, has been not only a great friend but also a huge professional support and resource. He has provided me with a sense of belonging in the world of Italian‐language film criticism. Monica Innocenti has been a source of inspiration and provocative insight in all things Italian and Lucchese.
I also thank Annette Burfoot who helped make it possible for me to live in Italy for extended periods of time, an experience that made my editorship of this volume feasible. The Department of Film and Media, Queen’s University, supported my spending significant time “off world.” University Research Services at Queen’s helped support the costs of translation for this project.