Print

Acknowl­edgments I am indebted to the generous participation of many scholars and industry profes- sionals whose time and talents made this proj­ect pos­si­ble. I would like to thank each of my consulting editors. Dr. Scott Strovas provided substantial assistance with the ­music section by writing the introduction, assem- bling contributors, and editing the entries for each composer listed. Dr. Brian McCabe contributed significantly by providing feedback, editing many entries (including my own writing), and furnished an entry on director Jane Campion. Lau- ren Hartle Morrison edited and consulted on many entries as well as wrote an entry on screenwriter Lillian Hellman. Fi­ nally, Dr. Jonathan Dickstein edited and consulted on numerous entries throughout the proj­ect as well. My heartfelt appreciation to Carrie Tupper, whose enthusiasm and knowledge of the largely unexplored history of ­ women in animation was so compelling that I had to add a section on feature animation. In addition to writing the introduction, Mrs. Tupper wrote ­ every entry in the animation section as well as conducted the interview with Vicky Jenson. Professor Deborah Nadoolman Landis, the founding director and chair for the David C. Copley Center for Costume Design at the Uni- versity of California, Los Angeles, consulted on the name se­lection for the cos- tume designers, wrote the introduction to the costume design section, and edited several entries in the section. Susan Cabral-­ Ebert, the president of the Make-up Artists and Hair Stylists Guild, IATSE Local 706, supplied information on the his- tory of makeup and hairstyling artists and provided the introduction to the Makeup and Hairstyling Artists section. On a personal note, my deepest appreciation and gratitude go to my life partner and husband, Aaron Bauer, for his endless support throughout this journey. This book would not exist without our many long discussions on the subject, and I was grateful for his patience as I undertook such an ambitious proj­ ect. Not a day passes that I do not feel incredibly fortunate to have him in my life. I also owe an enormous thanks to Dr. Cari Beauchamp, the Pickford Founda- tion’s Resident Scholar at the Mary Pickford Foundation, for her invaluable feed- back regarding the ­ table of contents and for sharing her research to the benefit of several entries, especially the ones on Marion Frances and Anita Loos. Professor Jane M. Gaines, at Columbia University’s School of the Arts and founder of the ­ Women Film Pioneers Proj­ ect, helped solicit several contributors and provided help- ful feedback. My advisor, Dr. Wendy Martin, has been my mentor and gave me the opportunity to co-­edit All ­ Things Dickinson: An Encyclopedia of Emily Dickinson’s