Barker - The aesthetics of antifascist film: radical projection

Many individuals and institutions have helped make this book possible and I owe a debt of gratitude to them all. I would like to thank the East Tennessee State University College of Arts and Sciences, Office of Sponsored Research and Department of Literature and Language for the research grants that allowed me to visit archives over the past two years, and my ETSU colleagues for their kindness and good cheer. I am also deeply grateful to Stanford University for the research leave I received during my postdoctoral fellowship, which made it possible for me to begin work on my book in earnest. I would also like to thank the Introduction to the Humanities program for its intellectual, financial and administrative support, in particular the incredibly resourceful Ellen Woods and Galen Davis. I am very grateful to the National Endowment for the Humanities Summer Seminar program for allowing me to study and discuss the phenomenon of German exile culture in California, and to my wonderful fellow seminarians, especially Susanne Wiedemann, Fred Dolan, David Kim, Amy Wlodarski and Michael Rosenthal, for their feedback on my project. Finally, I would like to thank Indiana University for its support of the early stages of this project, and in particular for the Graduate Exchange Fellowship to the Free University of Berlin, where much of it began.

In addition, I am so very grateful for all the help I have received from libraries and archives all over the world: in Britain the British Film Institute National Archive and Imperial War Museum Film and Video Archive; in Germany the Akademie der Kunst, Deutsche Kinemathek Museum Fr Film und Fernsehen, Bundesarchive and Bundesbeauftragten fr die Unterlagen des Staatssicherheitsdienstes; in France the Cinmathque Franaise and Bibliothque Nationale de France; and in America the Lilly Library, Kinsey Institute, Indiana University Libraries, Hoover Institution, the ETSU libraries, UC Berkeley Libraries, Stanford University Libraries, the Library of Congress and the Pacific Film Archive. I would also like to thank all the library and archival staff who have worked with me over the years, in particular Jonny Davies, Anita Metelka, Rachel Laufer and Laura Wellner.

I am very appreciative of the digital materials and/or permission to reprint from the Israel Museum, Akademie der Knste Berlin, Artists Rights Society, Hoover Institution Archives, Syracuse University Art Collection, University of North Texas Libraries, Universittsbibliothek Heidelberg, University of South Carolina Special Collections and the University of Wisconsin Press.

So many colleagues and friends have helped me think through the issues informing this study, supporting me with their wit, warmth and wisdom. In the early stages of the project I had important help and feedback from Susan Gubar, Ed Comentale, Phil Metres, Corinna Daestner, Cristina Iuli, Bill Vander Lugt, Steve Wender, Gwenn Fourier, Sunil Sharma and Kirstin Ellsworth. In addition, Andrew Mitchell, Karen Harrington and Nadge Dufort kindly helped me with translations. At Routledge Press, editors Felisa Salvago-Keyes, Julie Ganz and Erica Wetter all gave me critical assistance and support. Magdalena Barrera, Matthias Nicodme, Dominik Nagl, Kristi Wilson and Tomas Crowder have all contributed significant and highly valued support and editorial guidance to me during this project. I could not ask for better mentors than Eva Cherniavsky, Joss Marsh, Tom Foster and Joan Hawkins, who have consistently given me excellent instruction, advice and validation as a scholar over the past several years. I am also very appreciative of the insightful criticism from Matthew Bern-stein, Tobias Nagl and Russell Berman, which helped shape my final drafts. I also want to particularly recognize Eva Cherniavsky and Russell Berman for being ideal mentors and scholars and for going out of their way to encourage my work.