Dear Mark -- I am glad you brought this up because this practice of showing only clips has become more and more common and I find it particularly distres- sing. While I might not go as far in tone as Gene Stavis, in principle, I agree with him. As Janet Staiger adroitly pointed out, one has determine one's pedagogical goals. Are you showing clips to illustrate some stylistic concept (i.e. "this is a low-angle shot,") or in order not to take up too much class time? If you are attempting any sort of narrative analysis, or even a visual analysis of patterns and motifs, etc., you are required to show the film in its entirety. Yes, you can assign your students the task of viewing the complete film independently on video, but you can rest assured they will not be viewing the film in an uninterrupted fashion (they will be distracted by other library patrons, or, if at home, by ringing phones, roomates, etc.). I've said this before,but it bears repeating: Many of these students have neverseen these films before and might never get the chance to see them again in a darkened collective viewing environment. While we jaded profs. might cringe at hearing "rosebud" one more time, our students need to see it, and to see it in an environment which encourages them to take the film serioulsy and as it was intended (as a complete work of art). Especially with films that are dated (like many of the family melodramas I show), it is imperative that the prof. be there to introduce the film, set the stage and inform the class of the seriousness of the subject matter. Watched alone, something like ALL THAT HEAVEN ALLOWS might collapse into parody or joke; in a class situation, this is not the case. Comedies and Horror films gain tremendous affect from audience response -- all of which is lost when viewed alone, or at a library cubicle where the viewer feels intimidated about responding "too loudly." Clips and individual viewing are ideal for analysis, but one must see the film in its entirety in a collective atmosphere of attention and yes, passion. For without a LOVE of the medium students will lose interest quickly in studying its history, critical approaches and often difficult theoretical perspectives. Pragmatically, set aside a 3 hour screening time a week (usually evenings work best) at which your students are required to go and see the film. If space permits, allow them to bring a friend. And by all means, at the end of the film, open up an immediate discussion just to assess initial responses. These students spend at least a night a week at the "movies" anyway, and adding an additional night when they go out to see a film will not present a hardship. I am glad you bring this up, because it is crucial to keep reminding each other of the importance of the art form -- an art form that has tremendous ideologicaland cultural implications in part because of its larger-than-life identity, its length, and its viewing situations. Nina Leibman ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]