LITMIR.BIZ

      ACKNOWLEDGMENTS

      Many people—both colleagues and students—have contributed to this volume in countless stimulating conversations and in countless helpful ways. More particularly, I would like to extend my gratitude to all those extraordinary students in the Department of Film, Television, and Digital Media at the University of California, Los Angeles, who, over the years, have taken and contributed to my graduate seminars “Visual Perception” and “Film and the Other Arts: Theories of Spatiality”; their provocative conversation and insights inform many of the essays in this book. I am also extremely grateful that portions of this work were supported by research grants from the UCLA Faculty Senate Committee on Research and by the UCLA Center for the Study of Women. Most personally, however, I want to thank those colleagues and friends who, for many years now, have generously read, commented on, argued with, and inspired the pages to follow; for both their ongoing friendship and their enthusiastic interest I owe a great debt to Scott Bukatman, Elena del Rio, Arild Fetveit, Kevin Fisher, Amelia Jones, Kathleen McHugh, Maja Manojlovic, Laura Marks, and Linda Williams.

      Five of the twelve essays in this book have been revised and expanded from earlier published English-language versions. In the order in which they appear in the present volume, these are “Scary Women: Cinema, Surgery, and Special Effects,” in Figuring Age: Women, Bodies, Generations, edited by Kathleen Woodward (Bloomington: Indiana University Press, 1999), 200-211; “The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence,'” in Materialities of Communication, edited by Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer (Stanford, CA: Stanford University Press, 1994), 83-106; “Beating the Meat / Surviving the Text, or How to Get Out of this Century Alive,” in Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment, edited by Mike Featherstone and Roger Burrows (London: Sage, 1995), 205-14; “Is Any Body Home? Embodied Imagination and Visible Evictions,” in Home, Exile, Homeland: Film, Media, and the Politics of Place, edited by Hamid Naficy (New York: Routledge, 1999), 45-61; and “Inscribing Ethical Space: 10 Propositions on Death, Representation, and Documentary,” Quarterly Review of Film Studies 9, no. 4 (fall 1984): 283-300.