though i do want to ffer some suggestions for possible exemplary scenes epitomizing conventional hollywood-cinema emotions, i first want to note how interesting and exciting the described project is . . . the idea of more solid "evidence" to use in thinking through some of the by now conventional wisdom of cinema studies promises some very useful results . . . as to scenes . . . the ending of "stella dallas"; the shower scene is "psycho"; the ending of chaplin's "city lights" asll recommend themselves as moments that even in islation (with just a bit of narrative set-up) should evoke pretty clearly defined emotive responses . . . comedy is more trickier because not only does one have to be able to laugh, one also has to know that the discourse wants you to get past a level of identification WITH to a level of laughting AT . . . the pratfall, for example, so central to slapstick, is based on a viewer's ability NOT to feel the pain of the faller . . . so this, and i think most comedy, will be more complex . . . also more subtle, but possible very rich in implication, the forest ambush in bertolucci's "conformist" where we have to be doubly horrrified, first at the physical visual specatacle of the brutal murder of two people, and second, at the moral horror of clerici's refusal to respond emotionally . . . how these emotionally distanced people respond to clerici's own emotioal distance might prove fascinating mike frank <[log in to unmask]> ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]