FILM FILM - University of Macau Library

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Acknowledgements This book traces its history back to my dissertation defence in March 1997, where Lars Gustaf Andersson suggested that I should continue my work on Sjöström. I am much indebted to him for this, as well as for later readings of both project proposals and text versions. Without his inspiration, this project would never have been completed. When starting to work on Sjöström in Hollywood, I turned to two essays in Swedish on The Scarlet Letter and He Who Gets Slapped that were published in the legendary journal Chaplin, both written by my first film history teacher, Örjan Roth-Lindberg, who also showed me He Who Gets Slapped for the first time back in the 1980s. As I have worked on Sjöström, these essays, it seems to me, have increased in richness in their condensed approach to the issues that I have here attempted to explore in more detail. I am most grateful to Örjan for his inspiration and his innovative approaches to film analysis. I am also much indebted to my former supervisor Jan Olsson for his most insightful remarks and his general encouragement when I first started to formulate my new research project on Sjöström in Hollywood, and when we met in Los Angeles. In Los Angeles, I got invaluable help from Ned Comstock at the Cinematic Arts Library at University of Southern California, for which I am extremely grateful. In Stockholm, I also owe deep gratitude to Jon Wengström of the Swedish Film Archives for a continuous exchange and updates on new discoveries, and for providing working copies of important research material. I am also grateful to Mats Skärstrand and Ola Törjas from the library of the Swedish Film Institute, but not least also to Ludvig Hertzberg, who worked at the library in the beginning of the project and provided me with invaluable material. I am also most grateful to Jan Holmberg, who at the time worked for the Swedish Film Institute as director for the Cinematheque, and invited me to present Victor Sjöström as director in a bilingual volume for an international audience – also an important encouragement for this project. My greatest thanks go to a couple of other colleagues. Anu Koivunen provided a thorough reading and most stimulating suggestions concerning the chapter on The Wind. Patrick Vonderau has been of invaluable help by providing me with his critical remarks but also by inviting me to engage in a most
8 Transition and Transformation productive scholarly exchange over the years. Astrid Söderbergh Widding has been a true companion throughout the project. I am deeply grateful to the Bank of Sweden Tercentenary Foundation, to the Holger and Thyra Lauritzen Foundation and to the Vice-Chancellor of Stockholm University for granting generous financial support. Many thanks to Bart van der Gaag for his work with the illustrations. I also thank Elaine King for her proof reading at an early stage. Last but not least, thanks to the Film Culture in Transition series editors and to Amsterdam University Press for support and inspiration in the process of improving the manuscript. I dedicate my study to Naemi, Hannah and Elias, who have all been active in both delaying and supporting this seemingly never-ending project. Stockholm, August 2012 Bo Florin
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Film Culture in Transition General
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Marijke de Valck and Malte Hagener
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FILM FILM - University of Macau Library

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