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I am deeply grateful to everyone who helped with this project, especially the anonymous readers of the original proposal and sample chapters; Jeremy Brooker, chair of the MLS for reading drafts and for the privilege of seeing him and Carolyn working their magic live; Mary Cahill and colleagues at the National Museum of Ireland for letting me examine the ash pit slides; Ian Christie who said it sounded like the kind of book he would like to read; Richard Crangle (of the MLS and LUCERNA), for assistance with images; Stephen D’Arcy for kindly inviting me to view the ash pit itself; Sarah Dellmann of the ‘One Million Pictures’ project; Jeffrey Geiger and Karin Littau, who starting me thinking about cinematicity; the late Mervyn Heard, whose work and performances inspired so many; Onno Kosters and Katherina Hagena for sharing many symposium panels; Matthew Jarron and Steven Gellatly for insights into silent films, Victorian culture and musical accompaniment; John McCourt, for observing that some things are so obvious no one can see them; Luke McKernan, from whom I have learned much in so many ways; Katie Mullin, Cleo Hanaway and the Joyceans at Leeds, for wonderful inputs, academic and sociable; Deac Rossell who probably does not realise yet how a chance conversation would prove so influential on me; Neil Sinyard for unstinting faith and kindness; Nick Wade for enlightening conversations about optical toys and stereoscopy; cohorts of Joyce and cinema students past and future, who provide new ways of thinking about this topic; and colleagues in English, Film, Comics and Art, who listened to my ideas developing with patience and perspicacity; lastly, Dean of Humanities Jim Livesey, for locking me in the writing bunker over the summer until it was finished.
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