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.