MANY OF my teachers leave their marks on this book. I was transformed at the University of Chicago, where I sat as an undergraduate in Tom Gunning’s classes on early cinema. Our conversations over the past decade have helped to shape many of the arguments that follow. Also at Chicago, James Lastra endured long office hours with me; many years later, he inspired my writing. The early stages of this book were researched and written at the University of California, Berkeley, where I was a graduate student. I am indebted to a number of professors and colleagues there, especially Carol Clover, without whom this book would not exist. Our conversations oriented me in the material and continue to inform my thinking and writing. Linda Williams offered tough and indispensable criticism at every step. Guy Micco generously donated his medical films, expertise, and friendship. Anne Nesbet provided insightful feedback on early drafts; Marilyn Fabe invited me to lecture on early cinema at a pivotal moment and always offered support. Several interlocutors in the Berkeley community influenced this book: Sylvia Chong, Amy Corbin, Guo-Juin Hong, Russell Merritt, Mark Sandberg, Gordy Steil, Andrée Toussaint, and Kristen Whissel.
A number of colleagues at St. John’s University have read this book in its late stages, either in part or in whole: thanks to Amy King (for her inexhaustible support, acuity, and rigor), Dohra Ahmad (for her feedback on early sections), Kathleen Lubey (for her candor about ducks and pinchers), John Lowney (for the Americanist queries). Stephen Sicari managed my anxiety with admirable grace. I am also grateful to Adam Lowenstein for helpful commentary on a late draft.
Special thanks to Domietta Torlasco for her sensitivity to images and her intuitive grasp of the personal stakes of this project. My friend Douglas Lindeman did not live to see the completion of the book, but his words of confidence helped create it. So many students at St. John’s have kept me going—especially John Nance, Jeffrey Maiorino, and Stephen Pasqualina. Thanks to Phillip Grayson for his diligence. A large portion of this was written at Igloo Café in Astoria, New York; I thank the establishment and everyone working there. Thanks to my circus friends for the artistic and athletic outlet. I want to thank my parents, Charlie and Lorraine, and my sister, Cindy, who supported my decision to think and write.
My life has been defined by my experiences as a student, and it is for all of my teachers that I have the biggest sense of gratitude. I would especially like to thank Virginia Marcus, my eleventh grade English and Humanities teacher, who came into my life and redefined its possibilities. It is to her that I dedicate this book.