Whoever mentioned Lang's FURY is on to a recurring strain -- the crowd as personification of evil. I can't recall reading much about this, but I certainly remember several such scenes in Griffith's films of the 1920's -- ORPHANS OF THE STORM immediately comes to mind--not just the crowd scenes in the slum sections of Paris, but in the near-mandatory "wild dinner party" scene. (I seem to recall another later film of his with a similar scene, but can't remember the title. It occurs in several silents of the 1920's.) HANGOVER SQUARE (1945, d. Brahm) has a scene of adolescents eagerly preparing and participating in a bonfire that also reflects this strain. (You might also want to check out the opera PETER GRIMES for an approach from a different art form.) In a different light, I've always been fascinated by use of the crowd as an element of design. Of course any Berkeley sequence will do (look closely--he always likes to pit the individual against the group). Even something as negligible as the main title to COCOANUTS (yes, Marx Bros.) which uses the negative image of a dance sequence (which doesn't appear in the body of the film in the same way) initiates quite an exhiliration on the part of the viewer. For a more controlled use, try Lubitsch's MERRY WIDOW (1934) where the multiple pairs of dancers flow along corridors and halls like liquid. (I haven't seen them in a while, but I recall that his "wild dinner party " sequences in his silents are worth viewing--especially SO THIS IS PARIS (1926).) Bob Kosovsky New York Public Library--Music Division bitnet: [log in to unmask] internet: [log in to unmask] P.S. Don't forget KING KONG!