provided a stimulating and supportive research environment during the four and a half years of research that form the basis of this book.Archivists and curators at the various archives that I visited were very helpful; I wish to thank especially the volunteers at the smaller ones for taking time to welcome me: Brigitte Aust and Erich Knokke at the Fairground Museum in Essen, Aly de Boer at the Museum Sloten, Cor den Boer at the Archives of the Society for Common Benefits at Edam and Frido Troost at the Institute of Concrete Matter in Haarlem.Without the support of private collectors, I would not have gotten access to this rich corpus of popular visual media; although an increasing (academic) attention to ephemera and objects of popular visual culture generates new initiatives in the heritage sector, such objects have been generally not widely preserved in the big national archives. I am deeply indebted to Richard
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