would like to thank my advisor Stephanie McBride for her support and encouragement. Thanks also to Roddy Flynn for his friendship and belief in my teaching abilities. Luke Gibbons was an im portant influence during my time as a MA...
morewould like to thank my advisor Stephanie McBride for her support and encouragement. Thanks also to Roddy Flynn for his friendship and belief in my teaching abilities. Luke Gibbons was an im portant influence during my time as a MA graduate student. Des McGuinness, Barbara O 'Connor, Karl Grimes and Debbi Ging have all made my time at DCU enjoyable and educational. My graduate students on the MAFT course (2000-2003) whose questions have often clarified my own research. Very special thanks must go to Christina Quinlan for her impromptu babysitting services on the day the thesis was handed in for examination. And lastly to the school secretary Mary Nulty, for both her humour and efficiency. I would like to thank all the library staff at DCU for their help and assistance. Christine Van Assche and Sylvie Douala-Bell at the Pom pidou Centre, Paris, for their assistance in researching both Pierre Huyghe's The Third Memory and Chris M arker's Immemory. Thanks to the following for there help at different stages of this projects development. Maeve Connolly and Valerie Connor, my co-editors for The Glass Eye (2000) for their constructive comments on "Teratology and the Televisual in M anhunter". Karen Van Meenen, editor at Afterimage for her comments on my Matthew Buckingham text. Paul Willemen who kindly forwarded a manuscript of his conference paper on action cinema, Gregory Sholette, not only for his surprising knowledge of B-Movies, but his generosity and scholarly advice. Many people have participated in the development of this project, some indirectly, through conversations and debates. Martin McCabe, who in his own early days as a lecturer alerted me to the importance of a cultural studies model. V alentina Vitali, for her insightful conversation on a number of issues. Thanks also to