Firstly, I must thank the staff at Edinburgh University Press, particularly Gillian Leslie and Michelle Houston, for their kind help at various stages in writing, editing and publication. I would like to extend my gratitude to the Arts and Humanities Research Council, who funded the research that paved the way for this book. I also wish to thank the organisers of the various conferences at which I have presented nascent aspects of my work: Armelle Parey, Isabelle Roblin and Dominique Sipière (‘Happy Endings in Literature and Film’, Université de Caen Basse Normandie); Emre Caglayan, Frances Kamm and Pete Sillett (‘The End Of…?’, University of Kent); Ian Hunter and Melanie Williams (‘Romcom Actually’, De Montfort University, Leicester); and Lucy Fife Donaldson and Reina-Marie Loader (‘Journeys Across Media: Authenticity’, University of Reading).
The University of Warwick’s Film and Television Studies Department provided my intellectual home for eight years, and I have its staff – as well as the greatly stimulating research climate the department fostered – to thank for my development as a student, teacher, and scholar. I must pay special tribute to Ed Gallafent, my doctoral supervisor, with whom I discussed happy endings for around five years; he was integral to the evolution of my thinking on this subject, and thus to this book, and I am deeply indebted to him for a great many reasons. I would also like to thank all the Warwick staff for their expertise, advice and assistance at various points in my education and career, and especially José Arroyo, Jon Burrows, Stella Bruzzi, Catherine Constable, Victor Perkins, Alastair Phillips, and Martin Pumphrey for the parts they played in helping this book to become what it is.
I have been surrounded over the years by many inspiring peers who deserve thanks for their friendship, ceaseless conversation, and intimidating smarts; particularly crucial to the growth of my thinking on subjects relevant to this study have been Paul Cuff, Stuart Henderson, Tom Hughes, Michael