ACKNOWLEDGMENTS

The preparation of this book required intense intellectual collaboration and agreement among the contributors on the overall purpose and basic organization of the work, as well as a mutual willingness to meet a tight schedule of deadlines. I am very grateful to my fellow collaborators for their efficiency and cooperation in meeting and often exceeding the expectations and demands placed upon them.

While it would be impossible to name all of those who have served as generous and expert guides in preparing my own chapter on Yugoslav film, I would be remiss not to mention certain key institutions and individuals without whom the work could have not been completed. Milomir Marinovic, Head of International Films for Jugoslavija film, offered valuable advice, set up special screenings of recent films, and provided me with film illustrations. Gorka Ostojić-Cvajner, Director of the Annual Festival of Yugoslav Feature Films at Pula, extended every courtesy to me while I was a guest of the festival in 1986 and 1987, and made available valuable materials from previous festivals. Dušan Stojanović, professor of the Faculty of Dramatic Arts in Belgrade and one of Yugoslavia’s leading film critics and theoreticians, read the manuscript and made numerous helpful suggestions. I am also grateful to a wide circle of film critics, artists, and directors of film enterprises in Belgrade, Zagreb, Sarajevo and Ljubljana for their lively discussions, hospitality, and generous support in providing interviews and arranging for screenings of important films.

Margaret S. Jennings, senior writer-editor for the MITRE Corporation in Bedford, Massachusetts, provided detailed and expert editorial assistance in the preparation of all the manuscripts for the book. Priscilla Scott and Thelma Kime typed the manuscripts and their many revisions with unfailing efficiency and cheerfulness.

DANIEL J. GOULDING