Barbara Creed - The Monstrous-Feminine: Film, Feminism, Psychoanalysis

I am extremely grateful to a large number of people who have helped make this book possible. My thanks go to Annette Blonski, Freda Freiberg, Mandy Merck, Merrilee Moss, Jane Selby, Lesley Stern and Lis Stoney for reading sections of the manuscript and offering important ideas as well as editorial assistance. In particular I wish to thank William D. Routt, my colleague at La Trobe, for his invaluable comments, theoretical insights and inspirational guidance. I also thank all those who offered me their friendship and support: in particular Sophie Bibrowska, Nanette Creed, Joyce Edwards, Joanne Finkelstein, Andrea Goldsmith, Pauline Nestor, Iris OLoughlin, Noel Purdon, John Slavin and Ishara Wishart.

Thanks also to my colleagues in the Cinema Studies Division of La Trobe University who all contributed in some way to the intellectual and social milieu in which the book was written in particular: Chris Berry, Rolando Caputo, Anna Dzenis, Dena Gleeson, Lorraine Mortimer, Beverly Purnell and Rick Thompson. I am particularly grateful to Ted Gott for his assistance with the illustrative material. Thanks also to the editorial staff at Routledge particularly Rebecca Barden, Emma Cotter and Tamsin Meddings for their excellent services and support.

The members of the feminist film group, Savage Sisters, who watched countless horror films with me deserve a special thanks: Jo Comerford, Allayne Davies, Rachelle DiDio and Krys Sykes. I also thank the many students at La Trobe University who contributed valuable insights in the horror film course I teach. Sandra Pascuzzi and Tania Rowe, from my local videostore, deserve a special vote of thanks for cheerfully keeping me up with the latest in horror.

I am particularly grateful to the Humanities Research Centre at the Australian National university for a scholarship which enabled me to have time for research and writing and in such a congenial atmosphere. I also thank those universities and institutions which invited me to present seminars on my research, particularly: Flinders University in Adelaide; the South Australian Media Resource Centre; the University of Tasmania; the George Paton Gallery; the Melbourne Writers Festival; and the Brisbane Centre for Psychoanalytic Studies. Finally, the La Trobe University Publications Committee deserves a special acknowledgement for providing a grant towards publication of the illustrative material.

I wish to thank the following individuals for their assistance with the illustrative material. Ken Berryman of the National Film and Sound Archive of Australia; Tessa Forbes of the British Film Institute, Ted Gott of the Australian National Gallery, Beverly Partridge of Films Around the World Inc; and James Sabine of the Australian Film Institute.

Illustrative material has been provided by the Kobal Collection; Design and Artists Copyright Society; Robert Le Tet of Entertainment Media; Michael Leunig of The Age, the National Film and Sound Archive of Australia; and Robert Tappert of Renaissance Pictures.