Barbara Marantz--Here's another angle on revolutionary representations, the form in which such events have become ritualized as a Hollywood generic convention: historical adventure. The level to which these are full-fledged revolts or simply revolutions varies, but they are surely to be considered. For instance, note the swashbuckling treatment given the French Revolution, both pro and con, in The Fighting Guardsman, The Scarlet Pimpernel, Scaramouche, and The Black Book Reign of Terror. A similar pattern is found in more remote historical periods, whether The Flame and the Arrow, The Exile (1947), and the whole pattern of Robin Hood and Zorro legends. The same conventions are carried to their fictive extreme in Omar Khayyam, The Prince Who Was a Thief, and other "Oriental swashbucklers". Even imperial adventures typically include some kind of revolution, including Khartoum, The Long Duel, Gunga Din, King of the Khyber Rifles, and The Real Glory. This is only a very brief sense of some of the ideas in my forthcoming book, The Romance of Adventure: The Genre of Historical Adventure Movies, appearing this summer from U of Miss Press. Forgive the self-promotion, but when you mentioned revolution, I couldn't help but dive in, since I use this notion as the genre's main structuring force. Brian Taves, Library of Congress, Film Division [log in to unmask] My interests and views are not necessarily those of the Library of Congress.