Acknowledgments

Iam especially indebted to Jochen Peters of the Center for Peace Studies at the
University of Tromsø for inviting me to serve as a juror at two Tromsø International
Film Festivals and to the jurors with whom I served (see Introduction). I want also
to thank those who invited presentations of prototypes of the various chapters,
commented on them, or inspired and supported aspects of my thinking and
analyses: Jane Bennett, Peter Burgess, Bill Connolly, Mick Dillon, Jason Frank,
Jon Goldberg-Hiller, Bianca Isaki, Sankaran Krishna, Debbie Lisle, Nizar Messari,
Daniel Bertrand Monk, Joao Nogueira, Rob Walker, Cindy Weber. I also owe
special thanks to the students in Rio who took my seminar on cinematic geopolitics
and edified me on the subject of Brazilian films: Daniel Mauricio Aragao, Moema
Viera Correa, Andrea Freitas da Conceicao, Carlos Frederico Pereira da Silva
Gama, Fabiano Mielniczuk, Marcello Mello Valenca, and Roberto Vilchez
Yamato. My greatest debt is to my wife and film-watching partner, Hannah
Tavares, whose compassion and critical thinking accompany me everywhere. This
book is dedicated to the memory of my late cousin, Malcolm Greenberg, who took
me to see one of my first war films, the Fred Zinnemann film version of James
Jones’s novel From Here to Eternity.Malcolm and his friend Alan provided the
first film commentary I had ever heard. Watching the film as a 13-year-old, I had
my attention on heroes and bad guys, and my primary emotion was fear, in reaction
to the brutality of Sgt. James R. (‘Fatso’) Judson (played convincingly by Ernest
Borgnine). As I regained my composure while Malcolm drove us home from the
film, I listened while he and Alan translated a war film drama into a complex story
about the ways in which characters are shaped by circumstances. Then, as always,
Malcolm displayed both a critical and a generous view of humanity’s diverse
personae. I profited from being exposed to both of his dispositions

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