The writing of this book has taken me several years. I gathered materials during three research trips. The first one was taken in June 2011, when I visited the Biblioteca Nacional in Buenos Aires and the library of the Argentine Institute of Film (ENERC), made possible by a research grant from Southern Illinois University, Edwardsville. Diana Paladino, Ana Laura Lusnich, Adrián Perez Mahi, and Adrián Muoyo and his staff were extremely supportive, helping me locate materials and films. I am grateful to Octavio Aita for his research assistance. In August 2011, I also collected news clips from La prensa published in 1966–1976 at the University of Florida, Gainesville thanks to a travel grant from the Center of Latin American Studies. Richard Phillips welcomed me to the Latin American Studies library. A third trip to Argentina was made possible thanks to partial funding from the Center of Latin American Studies at the University of Chicago and through a Title VI grant from the Upper Midwest Latin American Initiative with the University of Wisconsin-Madison and the University of Wisconsin-Milwaukee.
Because this is a project that has a strong historical component, I consulted with several historians. My appreciation goes to David Sheinin, Jessica Stites Mor, Jonathan Ablard, and Nils Jacobsen. Cacilda Rêgo listened patiently to me while I distracted her from appreciating Salzburg and supported this project in many ways. Melissa Fitch, Laura Podalsky, and Lisa Shaw also believed in this study. My thanks to Beatriz Urraca, Marcos Campillo Fenoll, and Georgia Seminet, who read early versions of the manuscript. My sincere gratitude to Carolyn Hutchinson for her amazing editorial work. I am also grateful to the two anonymous readers of Liverpool University Press.
A Fulbright Fellowship allowed me to write part of this manuscript in Liverpool; what better place to revisit the 1960s? My heartfelt thanks to Penny Egan, Ana Pereira, and Jeana Evans of the US-UK Educational Commission. My Fulbright mentor in Great Britain, Eva Wisemark, was a true source of inspiration and support. From the University of Liverpool, I would like to thank Chris Harris, Niamh Thornton, Julie Hudson, and Laura Barlow, who helped me navigate the university as well as the city. There were also many Liverpudlians—from the gas inspector to those working at the council—who (p.x) contributed to giving me the peace of mind necessary to devote my attention to the first part of this manuscript. To all of them, my appreciation. My time in Liverpool was inspirational and productive. Many thanks also to Alison Welsby, editorial director of Liverpool University Press, for her patience and professionalism.
I am extremely grateful to my daughters, Camila and Clara, who gave up some of their free time to help me xerox, photograph, and label materials in 2011. Their presence encouraged me to persist when there was little hope of having access to precious resources. Special thanks to Clara for agreeing to come with me to Liverpool and sharing with me the discovery of a fascinating city. As usual, Armando has been my most steadfast cheerleader in this process. My gratitude also goes to Dario and Myriam Rocha for hosting me in 2015 and sharing their memories of Juan Moreira’s release.
I would like to thank Stacy Schlaub and Rebecca Frazier-Smith from the University of Texas Press for granting permission to reprint the article ‘El santo de la espada: Building Nationhood from Film,’ previously published in Studies in Latin American Popular Culture 33, 55–74 © 2015 by the University of Texas Press. All rights reserved.
When I was writing this manuscript, my mother passed away. She was a relentless supporter of my studies and research and was very proud of my Fulbright in Liverpool. This book is dedicated to her memory.