Moving Images, Understanding Media

Preface xiii

Th is book would also not exist without the support and input of fi lmmaker

Adam Keker. Adam off ered much of the initial inspiration and encouragement

for this project and has provided indispensable assistance with many of the

artistic and technical issues covered in the text. Adam has been the catalyst

in soliciting cooperation from many independent fi lmmakers for this project.

Th e daunting challenges of the scope of this endeavor could not have been

met without Adam’s expertise and friendship.

Th e kind contributions of many directors, producers, photographers, and

artists were an enormous boon to Moving Images, and I wish to thank them

sincerely for sharing their work: Nash Edgerton and Blue-Tongue Films;

William Farley; Tony Gerber (www.marketroadfi lms.com); Jon Jost; Agnès

Varda and Ciné-Tamaris; Mike Chase; Eugene Corr and Tamsin Orion;

Dan Geller; Estelle Grosso and Th e Cinema Guild; Amanda Micheli; Paul

Saltzman; Christopher Benson; Laurent Carmé; Robert Casinghino and Fresh

Music Library (www.freshmusic.com); S. Smith Patrick (www.shuttersmith

.net); Kaarina and Derek Roberto; and Khadija Al-Salami. I greatly appreciate

the generosity and sympathetic exchanges with research specialists, authors,

and archival sources, notably Rita Altomara and the Fort Lee Library;

Tim Bodzioney; Lisa DePaolo; Alison McMahan; Trond Trondsen (www

.nostalghia.com) and Lars-Ol of Löthwall; Stephen Wainwright and the

George Groves family; the Henry Mancini Estate; the Eames Offi ce; Andy

Malcolm and Footsteps Studios; and Buddy Weiss, Todd Ifft , and the team

at Photofest. For their timely aid in the creation of the Close-Up feature of

this book, I express heartfelt gratitude to Nanette Burstein, Greg Butler,

Nash Edgerton (again!), Kevin Goff , Pamela Gray, Deborah Hoff mann, Hiro

Narita, and David Riker.

In addition, the production of the DVD was made possible through the work

of many people. Emily Doe of Wholphin DVD magazine (www.wholphindvd

.com) provided crucial help. Brian Spellman and Ryan Sindler produced many

segments of the DVD footage for student use. Of course, the short fi lm portion

of the DVD would not have been viable without the willingness of gift ed

fi lmmakers to believe in this educational mission, and I extend my gratitude

to Emile Bokaer, Eva Ilona Brzeski, Nash Edgerton, Richard Levien, Kimberly

Miner, Mark Osborne, Steve Pasvolsky, Rob Pearlstein, Matthew Silva, and

Sasha Wolf. Finally, it took the dedication and substantial eff orts of a talented

individual to oversee the entire DVD project and to complete its signifi cant

technical, logistical, and editorial tasks: Ross Martin. Most important, Ross

understood the mission of this textbook right from the beginning, and this

fact was vital throughout the progress of our endeavor.

A number of the names in the preceding paragraphs bring me to the group

that deserves the greatest thanks for this textbook, the reason that it exists

at all: my students. Our mutual adventures in learning and moviemaking in

the Fundamentals and Advanced Film and Video courses at Suffi eld High

School in Connecticut began over ten years ago. When I refl ect on this book,

I imagine all of the students who have shared in these experiences from the

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