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ACKNOWLEDGMENTS
Inspiration for this book came from many sources, including my personal experience as a scholar attempting to negotiate feminist culture and film theory from a post-feminist perspective. For his constant support, direction, friendship, and an ever-willingness to give insightful comments, I owe tremendous gratitude to Scott Simmon. For their helpfulness and patience in reading and commenting on several drafts, suggesting corrections and additional areas of study, I am indebted to my colleagues at University of California, Davis: David Van Leer, Marijane Osborn, and Kari Lokke. This book is for Stephen K. Greenholz, whose love and friendship made it so.