In regard to the discussion involving Mr. Jenkins and Ms. Aaron, perhaps I, as
a non-film scholar but someone who tries to be an intelligent film buff, might
make a small contribution.  Both james Monaco's The New Wave and G. Crisp's  Er
ic Rohmer seem to me examples of closely reasoned, aesthetic, yet non-a-histori
cal (what a term!) criticism that is both sophiticated yet accessible and not j
argon-laden.  I cpmmend these two examples, even though I find myself agreeing
more with monaco than Crisp.  Yet sepite my differences with the latter, I cann
ot and do not deny his acuity as a critic and his avoidance of esotericism in h
us language and approach.
 By the way, does anyone know why more of Robert Bresson's films are not availa
ble on video?  I would be tempted to sell my first born to get a copy of L'Arge
nt.