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ACKNOWLEDGMENTS

A lot has happened in the “Shakespeare and Film” world since I started writing this book. New films of Macbeth, for one thing, keep appearing, and good books too. I have learned much from the work of friends and colleagues with whom I have tried out ideas or discussed some of the films—I think especially of Pascale Aebischer, Judith Buchanan, Samuel Crowl, Lukas Erne, José Ramón Díaz Fernández, Matthias Heim, Russell Jackson, the late Kenneth Rothwell, Katherine Rowe, and Richard Waswo. Someone—I cannot recall who—happily alerted me to Jenny Sager’s recent book, which covers some of the same ground in film studies and early modern theatre, even though her focus is not on Shakespeare but on Robert Greene. I am grateful to the others who have helped me keep up: friends and colleagues such as Indira Ghose, Elizabeth Kaspar (who carefully read the whole manuscript), Anna Swärdh, Digby Thomas, and Margaret Tudeau-Clayton (whose casual remark launched the whole enterprise). These (mostly) kind people have not always agreed with what I claim in this book, and none of them is responsible for the views, heretical or otherwise, expressed. But it is very pleasant to write down their names and think about each one as I do so. I am also grateful to the readers at Ohio University Press whose careful and detailed responses I have tried, where possible, to incorporate into the final draft of this book. Jacqueline Frey and her colleagues at the Centre Informatique in Lausanne labored long to help me cope with what seemed suddenly like an insurmountable computer problem. Christophe Metzger, also at the CI, has always been willing to help.

Parts of certain chapters were published in the Cambridge Companion to Shakespeare on Film, in Shakespeare et le cinéma, in the Paris-based Études Anglaises, in a festschrift for a colleague, and in the Wadsworth edition of Macbeth. I am grateful for permission to reuse them, although they have undergone considerable changes since their first appearance.