ACKNOWLEDGMENTS

 For their guidance and support, I would like to acknowledge my dissertation

committee members, Robert B. Ray, Greg Ulmer, Susan Hegeman, and Nora Alter. I

thank Greg for helping me frame and articulate the critical issues engaged in this project.

His constant and enthusiastic support, especially during the dissertation's final stages, has

meant a great deal to me. I thank Susan for teaching me to view my work more critically

and to anticipate opposing points of view. Nora's discerning critiques have enabled me to

challenge my assumptions and broaden my perspective, and I appreciate her advice and

approachability. Above all, I am grateful to Robert, whose influence on my work is

immeasurable. During a graduate seminar in the fall of 2001, he introduced me to the role

of cinephilia in film studies and taught me that experimentation and discipline can co-

exist. Since then, he has been an enduring source of wise counsel, support, and

inspiration. I feel truly honored to have spent the last five years under his mentorship.

 I would also like to thank my family for their warmth and encouragement. I am

grateful to my parents and my in-laws for their countless kindnesses over the years. I owe

my deepest gratitude to my husband, Jason Richards, whom I met at the University of

Florida. His unwavering devotion and unfailing wit have been invaluable in navigating

the challenges and joys of being an academic couple. I thank him for sharing my passion

for the movies; for serving as a sounding board for all of my ideas; for being my biggest

cheerleader and finest critic. Without him, nothing would be possible or worthwhile.