Sociology and the Feature Film Author(s): C. Emory Burton Source: Teaching Sociology, Vol. 16, No. 3 (Jul.

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SOCIOLOGY AND THE FEATURE FILM

C. EMORY BURTON

Howard PayneUniversity
The utility of motion picture films for instructional purposes is well recognized, and represents a neglected teaching tool. Research shows that films can be effective in engaging the interest of students in an appealing manner, and they can provide vicarious experience so we can see the world through another's eyes. With the growth of videocassettes, feature films should become an economical and more widely employed teaching medium. Suggestions for using feature films in education are given, and outstanding, sociologicallyrelevantfilms in 39 categories are given.

The utility of a motion picture film for instructional purposes is well recognized: "Film can provide the emotional impact, the specifics of human interaction,even a sense of drama, that often get left out of abstract sociological thinking and writing" (Curry 1984, p. 42). Maynard (1971, p. 3) reports how films can stimulate discussion, inspire creative writing, motivate reading, and build up teacher-student rapport. And Demerath claims that films of thereality at documents narrative canprovide between the world issue.Theyserveas a bridge of lectures,research,and textbooks,and the world that really matters. More than just emotional a good film can provide illustration, andprobing insight(1981, p. 71). immediacy Maynard(1971, p. ix) believes that films are not merely visual aids, but are as legitimate as books as part of the curricula. Anthropologists have used films for years, and some anthropologists have even made their own films. Considering the subject matterof sociology, it is paradoxicalthat the discipline has not used film more than it has. Today's students were born into a multimedia world. Writing 20 years ago, Jones (1967) claimed that masses of people are receiving much of their informationin the less abstract and more immediate forms such as the screen media. "The language of our time is increasingly a pictorial language" (Jones 1967, p. 8). The instructionalfilm in all formatscan be a highly effective teaching tool. Research attests that motion picturefilms, undervaried conditions of use, can be valuable for all age and ability groups. Experimentshave demonstrated the efficacy of films to elicit student participationand response during the presen-

tation of the films (Deighton 1971, p. 12; Smith 1973). Smith (1973) concluded that one introductory sociology class with intensive film exposure learned as much as another class concurrentlytaught with the traditionallecture method, even when that class was evaluating its own conventional instruction very highly. Of the students polled by DeFronzo (1982) on their response to a film augmentedcourse on social movements, fully 97 percentwere favorable.Prendergast (1986) reportedthat 63 percent of students said that their understanding of sociology improvedas a resultof film and discussion, and another20 percent said "maybe a little." Most of us emphasize reading and experiencing sociology but do not emphasize seeing sociology. Helping studentsfind and appreciate social phenomenais the main pedagogical value of visual media. The degree to which students can "find" sociological implications in film is at least some measureof how well they have developed a sociological perspective (Wolensky 1982, p. 5). Jones (1967, p. 60) points out that whatever manages to catch the eye also captivates the attention, and whatever captivates a person's attention usually is given access to his or her mentalconsideration.It is the combination of sight and sound that has been found uniquely effective for learning. Films not only portraysocial conditionsbut they also tap the personal conditions and sensitivities of individual viewers (Demerath 1981). Throughthe use of well-chosen films, we will be conveying materialin a maximally appealing and engrossing manner to the average college student. Many teachers have found that the most importantchange is in student attitude: apathy and boredom are 263

Teaching Sociology, 1988, Vol. 16 (July:263-271)

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264 frequentlyreduced or eliminatedthroughuse of an appropriate film (Maynard1971, p. xi). In the hands of a creative artist, film can appeal to the imagination and engage the emotions. "Film is vivid and concrete, and it can powerfully stimulate interest and focus thus it is one of the most valuableof attention; aids" (Blishen 1970, p. 270). The teaching things we rememberthe longest are the things that have emotional impact before they have intellectualimpact. For some, films can be so lifelike as to provide vicarious experiences which overshadow life itself (Demerath 1981). And shows that Prendergast

TEACHINGSOCIOLOGY

And as Wolensky says: "With an eventual mass marketfor videocassettes, feature films should become an economical and, therefore, more widely employed teaching medium" (1982, p. 1). Maynard (1971), whose work everyone interested in the use of film for teaching should see, recommendsshowing the films in the classroom. This procedure may be if one is teaching in a mini-term appropriate offered by many colleges, with class periods of three hours or more. But for the typical class, time and cost are limiting factors. What I suggest is working with the college film series, a programmost schools use once or twice a year. Sponsors of the film series like sociology,filmexposestheviewerto social are usually open to recommendations for worldsbeyondthe orbitof personal experience films, and their budgets are probably . . .The film accomplishes on an empathetic good already approved. If you can assure the level what sociology accomplishesthrough of having one or more sociology sponsors and cross-cultural historical creatcomparison: classes present at a showing, they may be oneself by ing the capacity to understand more to book the film. When you likely the broad social context (1986,p. understanding recommendan appropriate film, suggest that 243). it be shown on at least two occasions, to give If the film is a strong one, the viewer may your studentsmore opportunityto attend. not just watch the unfolding screenplay, but There may be a library or other organizahe or she participates in it. He or she will tion in the community that shows films often identify with one of the characters,and periodically: its sponsors might be open to the result of the experience may be that the suggestions. Sometimes "film festivals" offer viewer may learn something of what it feels a series of films on a given topic or films like to stand in the shoes of a person of a from the same country. Your proposals to differenttime, nationality,ethnic group, or of them could result in some excellent films some other situationvastly dissimilarto his or being shown, and it may well be possible for her own (such as a lower-class ghetto). He or you to have your studentsattend. she sees the world through another's eyes If these suggestions are not feasible, you (Jones 1967, p. 64), verstehenas Weber used may need to rentthe film yourself and arrange the term. Blishen (1970, p. 270) adds that for a showing at a time other than your film can give studentsvicariousexperienceof regularclass period (unless that period is an life and work in any part of the world. unusually long one). (For sources of films, Films may reveal a situation foreign to see Limbacher 1985; Maltin 1983; or the students' experience and demonstrate un- consortium of university film centers 1980.) known terms; frequentlythe verbal explana- It may be worthwhileto combine two or more tion requires direct visual experience (Wo- classes for the showing. A combination will lensky 1982, p. 2). Some think film may not be easy if you are at a large universitywhere only reinforce sociological concepts, but can several sections of one course are offered. lead to the discovery of concepts. Appropriate Otherwise, consider combining with a class films can help overcome the individualistic from a relateddiscipline. Doing so will assure bias of many students by making clear the a large audience and probably help with the socioculturalcontext. cost. Most sociology teachers who appreciate You may wish to keep alert for a relevant films are inclined to use the documentary, film on television and ask your students to such as the excellent ones by Frederick view it. Local TV network stations may put Wiseman (Curry 1985) or the short films you on their mailing list for advanced available from various sources. But the full programinformation.But many films are not suited for television, are often cut development of idea and characterizationis particularly best obtained with a full length, featurefilm. to fit a time slot, and usually are interrupted

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SOCIOLOGYAND THE FEATUREFILM for commercials. If you do wish to use a film on TV for your class, do not simply ask your studentsto see it; most of them will forget or will have some otherexcuse for not watching. Meeting at someone's home for the viewing of a good film could work well and has the advantageof allowing discussion immediately afterwards. The revolution in this field has been the videocassette recorder (VCR); at the end of 1985, there were at least 23 million VCRs in American homes. By the early 1990s, says media analystPaul Kagan, 70 percentof U.S. homes will have one (Block 1985). Films on cassettes are increasingly available through catalogs and local outlets. It is possible to obtainone (or make your own tapingof a film on TV) and show it to your class, but be careful of copyright laws: one should be sensitive to the legal question before deciding to make use of videotapes. And remember that the small screen makes this method less feasible for large audiences, unless multiple monitors are available. If you do have a film on cassette, you may wish to show only selected scenes to your class (relativelysimple to arrangewith a good VCR), perhapsto illustratecertain sociological concepts. If so, the time saved may make it possible to do the viewing right in the classroom. Anyone with teaching experience will realize the importance of integrating a film with the learning objectives. It is indispensable to preview each film before showing it, making notes of the specific sociological relevance. Some suggest using a viewing guide for each title, possibly with key quotationsfrom the film, but this procedureis optional. In any case, each film should be introduced, presented, and discussed with a sociological orientation.As Wolensky puts it: The teacher'srole is to sensitizestudentsto precipconcepts,norms,structures, appropriate events,andso forth,suchthata film can itating be 'seen' sociologically (1982, p. 4). It is essential that discussion be a required partof the experience. If a generalaudienceis present along with the sociology students, you may lead the discussion with the entire group (broken into smaller groups with a leader for each one), or assemble your students separately for the discussion (my choice). Jones (1967, p. 78) thinks that a film can be adequatelydiscussed only by a small

265 group of from 5 to 15 persons, though I have found that groups of 20 or slightly more are not too large. In most cases, it is easier to discuss a film than a book or article, because the former is more graphic and everyone has seen it. Studentsthemselves may recognize sociological themes in one or more of the scenes in the film. Each groupleadershould have some understandingof group dynamics. Hill stresses that the discussion group should have some method of proceeding, and he recommendsa "GroupCognitive Map," which consists of: a grasp of the overall meaning of the film; allocationof time so that not too much time is spent on just one aspect; discussion of major themes and subtopics;integrationof material with other knowledge (such as the text); applicationof material;evaluationof the film; and evaluationof the group itself (Hill 1977, pp. 25-30). A good discussion consists of interaction and feedback, not just a rotation of viewpoints. The types of things that Hill encourages are restating what others have said, formulatingexamples (from real life as well as the film), asking questions, addingto what someone else has said, stating ways your understanding differs from that stated by another member, and framing questions which will help the group test the usefulness of points (Hill 1977, pp. 53-54). In the discussion, students can clarify or reflect on the themes and symbols. The discussant's job is to focus the filmgoer's attention on a major dilemma, metaphor, or event in the film (Prendergast1986). Demerath(1981) suggests we focus not on the main characterbut on the "best friend." In most films, the main character is atypical, but secondarycharacters frequentlyenact the very rules to which the heroes are exceptions. The importanceof films will be reinforced if instructorsmention them in their lectures. Not every teacher may want to ask objective questions about films on tests, but essay questions may include "illustrate from a in discussion is a form of film." Participation assessment, and students can be encouraged to cite films in their essays and research papers. Finally, what feature films are relevant? I have selected ten useful films for specific mention, and I have added 167 films in an Appendix. Most of these are available in

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266 16mm format, videocassettes, or discs; some are available for rent or purchase, and many will undoubtedlybe shown on television. The Grapes of Wrath (directed by John Ford, 1940): Today's students may be surprisedto find that a 47-year old black and white film can be as powerful as this one. Steinbeck's story of Okies marching across the Depression desert to California is useful for a class in poverty or social stratification. Citizen Kane (Orson Welles, 1941): Often called the best film to come out of this country, this is the story of a brillianttyrant who built up a vast newspaper chain, sacrificing his happiness along the way. An unequalledfilm study of power. The Ox-Bow Incident (William Wellman, 1943): An unforgettabledramaabout a lynch mob, appropriatefor a course in collective behavior. CompareFritz Lang's Fury (1936). Twelve Angry Men (Sidney Lumet, 1952): One member of a jury (Henry Fonda) turns the case around for the defendant. An outstandingfilm and cast, useful in depicting social psycholsocial interaction (introductory, ogy). Bad Day At Black Rock (John Sturges, 1954): A one-armed man (Spencer Tracy) uncovers a town secret. Excellent as a study of prejudice and also useful for a course in community. The Pawnbroker(Sidney Lumet, 1965): A Jewish pawnbroker(Rod Steiger), victim of Nazi persecution, loses all faith in humanity until he realizes no man is an island. for introductory or social psycholAppropriate ogy. Sounder (Martin Ritt, 1972): A simple story of a family of black sharecroppersin Louisiana during the Depression. I used this in a class in poverty, but it is perhaps more relevantfor a course in the black experience. One Flew Over the Cuckoo's Nest (Milos Forman, 1975): A feisty misfit (Jack Nicholson) enters a mental hospital and inspires his fellow patientsto assert themselves. Provocative for a course in deviance or mentalillness. Gandhi (Richard Attenborough, 1982): A sweeping account of the life and times of the Indian saint, with a memorableperformance by Ben Kingsley. This long film (188 minutes)could be used for social movements,

TEACHINGSOCIOLOGY minorities, religion, or charismatic leadership. Tender Mercies (Bruce Beresford, 1983): A low-key film about an alcoholic country singer (RobertDuvall) who puts his life back together when he meets a young widow and her little boy. Useful for a course in family, or perhapsdeviance or religion. The Appendix lists films in 39 categories, which should be considered only approximations. Obviously many films might fit into several categories. To attemptto cross-list all the films by subject would produce more clutter than clarity. By consulting Scheuer (1986) or worksof film critics such as Stanley Kauffmann (my favorite), Pauline Kael, JudithCrist, or Dwight MacDonald, one can obtain more of an idea of the theme of the films.' The categories should be self-explanatory with one exception. The films groupedunder "Responsibility" include several that raise pertinentissues about the operationof social norms and the complex relationsbetween the individual and the group. Two films previously discussed, TwelveAngry Men and The Pawnbroker,would have been placed in this category. Because my focus is on feature films, no considerationhas been given to films of less than 60 minutes in length. But a number of the films listed are quite lengthy, and it is suggested that teachers note the length (normally included in film sources) before obtaining a film. As a cautionarymeasure, I have placed the symbol "L" immediately afterthe title of a film more than 150 minutes long. Be awarethat some of these films are quite old; many are in black and white; some are made-for-television movies (marked TVM); and severalare foreign-language films (though I believe all have been dubbedinto English or have English subtitles). Films that originate from countriesotherthan the United States or Great Britain are indicated with a two-letter abbreviationof the country.2

I would like to thank Howard A. Burton, Riverside City College (ret.), for his assistance with the film list. 2 Abbreviations used for countries:AL- Algeria; AUAustralia;CZ- Czechoslovakia; FR- France; GY- Germany;IN- India;IT- Italy;JA- Japan;MX- Mexico; SWSweden.

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SOCIOLOGYAND THE FEATUREFILM

Appendix. Other Sociologically Relevant Films Title Director

267

Year 1945 1979 1952 1955 1965 1967 1981 1945 1962 1947 1959 1939 1970 1939 1941 1941 1942 1970 1973

ADOLESCENCE Elia Kazan A Tree Grows in Brooklyn Peter Yates BreakingAway AGING Akira Kurosawa Ikiru (Living) (JA) Vittorio de Sica UmbertoD (IT) Rene Allia Shameless Old Lady (FR) Wild Strawberries (SW) IngmarBergman MarkRydell On Golden Pond ALCOHOLISM The Lost Weekend Billy Wilder Blake Edwards Days of Wine and Roses ANTI-SEMITISM Elia Kazan Gentleman'sAgreement The Diary of Anne FrankL George Stevens CHARISMATICLEADERSHIP William Dieterle Juarez Joseph L. Mankiewitzand Sidney Lumet King: A Filmed Record:Montgomery to Memphis COMMUNITY Carol Reed The Stars Look Down Sam Wood King's Row John Ford How Green Was My Valley Orson Welles The MagnificentAmbersons Jean-LouisBertucelli Rampartsof Clay (FR-AL) Federico Fellini Amarcord(IT-FR) CRIME (See Deviance, Police, Prisons) HowardHawks Scarface Double Indemnity Billy Wilder John Huston The Asphalt Jungle Jean-LocGodard Breathless ArthurPenn Bonnie and Clyde FrancisFord Coppola The GodfatherL FrancisFord Coppola The GodfatherIIL DELINQUENCY William Wyler Dead End Luis Bunuel Los Olvidados) (MX) The Young and the Damned (] FrancoisTruffaut The 400 Blows (FR) DEVIANCE (See Nonconformity,Alcoholism, Drugs, Prostitution) AbrahamPolansky Force of Evil John Schlesinger MidnightCowboy MartinScorese Taxi Driver David Lynch The ElephantMan DRUGS Otto Preminger The Man With the Golden Anm Fred Zinnemann A Hatful of Rain John Karty Go Ask Alice (TVM) ECONOMICISSUES (See Labor Unions, Poverty) Our Daily Bread King Vidor PrestonSturges Sullivan's Travels Vittorio de Sica Shoeshine (IT) RichardPearce Country FAMILY (See Adolescence, Marriage) Peter Hall The Homecoming Robert Benton Kramervs. Kramer RobertRedford OrdinaryPeople RandaHaines Something About Amelia (TV'M)

1932 1944 1950 1960 1967 1972 1974 1938 1950 1959

1948 1969 1976 1980 1955 1957 1973

1934 1941 1946 1984

1973 1979 1980 1984 Continued

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268
Appendix. Continued Title The Great Dictator To Be or Not to Be The PumpkinEater A Doll's House Hedda My BrilliantCareer(AU) Coal Miner's Daughter The EmigrantsL (SW) The New LandL(SW) Hester Street The Organizer(IT) Adalen 31 HarlanCounty USA Norma Rae Matewan Director

TEACHINGSOCIOLOGY

Year 1940 1942 1964 1973 1975 1979 1980 1971 1973 1975 1964 1969 1977 1979 1987

Ugetsu (JA) Who's Afraid of Virginia Woolf? Faces Scenes From a MarriageL A BrandNew Life (TVM) The Front Page The Big Carnival(Ace in the Hole) The Sweet Smell of Success A Face in the Crowd Network A StreetcarNamed Desire The Three Faces of Eve The Mark David and Lisa Persona(SW) Face to Face (SW) Sybil (TVM)

A Raisin in the Sun The Gardenof the Finzi-Continis(IT-GY) Little Big Man Conrak of Miss Jane PittmanL The Autobiography (TVM)

FASCISM CharlesChaplin ErnstLubitsch FEMINISM Jack Clayton PatrickGarland Trevor Nunn Gillian Armstrong Michael Apted IMMIGRANTS Jan Troell Jan Troell Joan Macklin Silver LABOR UNIONS Mario Monicelli Bo Widerberg BarbaraKopple MartinRitt John Sayles MARRIAGE (See Family) Julien Duvivier Mike Nichols John Cassavetes IngmarBergman Sam O. Steen MEDIA Lewis Milestone Billy Wilder AlexanderMackendrick Elia Kazan Sidney Lumet MENTAL ILLNESS Elia Kazan NunnallyJohnson Guy Green FrankPerry IngmarBergman IngmarBergman Daniel Petrie MINORITIES (See Prejudice) Daniel Petrie Vittorio de Sica ArthurPenn MartinRitt John Karty

1948 1966 1968 1973 1973 1931 1951 1957 1957 1976 1951 1957 1961 1962 1966 1975 1976

1961 1970 1972 1974 1974

NONCONFORMITY (See Responsibility) The Loneliness of the Long-DistanceRunner Tony Richardson StuartRosenberg Cool Hand Luke POLICE Detective Story William Wyler Touch of Evil Orson Welles Serpico Sidney Lumet POLITICS The Informer John Ford All the King's Men RobertRossen The Best Man FranklinSchaffner

1962 1967 1951 1958 1973 1935 1950 1950 Continued

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SOCIOLOGYAND THE FEATUREFILM

Appendix. Continued Title The Last Hurrah Z (FR-AL) All the President'sMen Gideon's Trumpet(TVM) Director POLITICS(Continued) John Ford ConstantinCosta-Gavras Alain Tanner RobertCollins POVERTY (See Economic Issues) Jean Vigo Jean Renoir Vittorio de Sico SatyajitRay ErnandoOlmi PREJUDICE (See Anti-Semitism) Mark Robson ClarenceBrown Joseph Mankiewicz Stanley Kramer RobertMulligan Michael Roemer David Lean PRISONS Mervyn LeRoy Sidney Lumet Tom Gries PROSTITUTION Federico Fellini RobertAltman Alan J. Pakula RELIGION Fred Zinnemann IngmarBergman RichardBrooks John Huston Alain Cavalier REVOLUTION Elia Kazan Gillo Pontecorvo WarrenBeatty Roger Spottiswoode RESPONSIBILITY FrankCapra Fred Zinnemann Ralph Nelson Zan Kadar Fred Zinnemann SCHOOLS RichardBrooks RobertMulligan Don Taylor Jud Taylor SOCIAL CLASS Anthony Asquith Jean Renoir Jack Clayton Jack Clayton

269

Year 1958 1969 1976 1980

L'Atlante (FR) The Southerner The Bicycle Thief (IT) PatherPanchali (IN) The Tree of Wooden Clogs (IT)

1934 1945 1949 1956 1978

Home of the Brave Intruderin the Dust No Way Out The Defiant Ones To Kill a Mockingbird Nothing But a Man A Passage to India I Am a Fugitive from a Chain Gang The Hill The Glass House (TVM)

1949 1949 1950 1958 1962 1964 1984 1932 1965 1972

Nights of Cabiria(IT) McCabe and Mrs. Miller Klute The Nun's Story The Virgin Spring (SW) Elmer Gantry Wise Blood Therese Viva Zapata! Battle of Algiers (IT-AL) RedsL Under Fire You Can't Take It with You High Noon Requiem for a Heavyweight The Shop on Main Street (CZ) A Man for All Seasons The BlackboardJungle Up the Down Staircase A Circle of Children(TVM) Lovey, a Circle of Children(TVM) Pygmalion The Rules of the Game (FR) Born Yesterday Room at the Top

1957 1971 1971 1959 1963 1960 1979 1986 1952 1967 1981 1983 1938 1952 1962 1965 1967 1955 1967 1977 1978 1938 1939 1958 1958 Continued

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270 Appendix. Continued Title Director

TEACHINGSOCIOLOGY

Year 1968 1973 1936 1960 1962 1962 1970 1944 1957 1970 1972 1930 1937 1957 1964 1964 1968 1970 1981 1946 1950 1965 1979 1983 1967 1969 1969 1947 1954 1957 1960 1960 1962 1969 1975 1979

siOCIALCLASS (Continued) The Swimmer Sydney Pollack Luis Bunuel The Discreet Charmof the Bourgeoisie (FR) SOCIAL SYSTEM CharlesChaplin Moder Times Federico Fellini La Dolce VitaL(IT) Luis Bunuel The Exterminating Angel (FR) SOCIALIZATION ArthurPenn The Miracle Worker FrancoisTruffaut L'EnfantSauvage (Wild Child) (FR) URBAN RobertoRosselini Rome, Open City (IT) MartinRitt Edge of the City MartinScorsese Mean Streets John Huston Fat City WAR Lewis Milestone All Quiet on the WesternFront Jean Renoir La GrandeIllusion (FR) Paths of Glory Stanley Kubrick Dr. Strangeloveor, How I Learnedto Stop Stanley Kubrick Worryingand Love the Bomb Fail Safe Sidney Lumet Shame (SW) IngmarBergman FranklinSchaffner PattonL Das Boot (GY) Wolfgang Petersen WAR'S AFTERMATH William Wyler The Best Years of Our Lives Fred Zinnemann The Men ArthurPenn and John Frankenheimer Coming Home (US-FR-IT) David Greene FriendlyFire (TVM) Nicholas Meyer The Day After (TVM) YOUTH IN THE 60s Mike Nichols The Graduate Dennis Hopper Easy Rider ArthurPenn Alice's Restaurant OTHERFILMS CharlesChaplin MonsieurVerdoux FredericoFellini La Strada(IT) The Seventh Seal (SW) IngmarBergman Elia Kazan Wild River L'Avventura(IT-FR) MichaelangeloAntonioni A Taste of Honey Tony Richardson The Passion of Anna (SW) IngmarBergman RobertAltman Nashville RichardPearce Heartland

REFERENCES
Allen, W.H. 1960. "Audio-VisualCommunication." Pp. 115-137 in Encyclopedia of Educational Research, third edition, edited by C.W. Harris. New York: Macmillan. Blackaby, Linda, Dan Georgakas, BarbaraMargolis. In Focus: A Guide to Using Films. New York: Zoetrope. Block, Alex Ben. 1985. "Hard Dollars in Video Software." Forbes 136:128-131. The Consortium of University Film Centers. 1980. EducationalFilm Locator, second edition. New York: R.R. Bowker.

Curry,Timothy J. 1984. "Sociological Films." Contemporar. Sociology 13:42-44. 1985. "FrederickWiseman: Sociological Filmmaker?"Contemporary Sociology 14:35-39. DeFronzo, James. 1982. "A Film AugmentedCourse on Social Movements Around the World." Teaching Sociology 9:169-188. Deighton, Lee C., ed. 1971. The Encyclopedia of Education, Vol. 4. New York: Macmillan. Demerath, Nicholas J. III. 1981. "Througha DoubleCrossed Eye." TeachingSociology 9:69-82. Halliwell, Leslie. 1985. Halliiwell'sFilm Guide, fourth edition. New York: Charles Scribner'sSons.

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SOCIOLOGYAND THE FEATUREFILM

Hill, William Fawcett. 1977. Learning ThruDiscussion. Beverly Hills: Sage. Jones, William G. 1967. Sunday Night at the Movies. Atlanta:John Knox. Kuhns, William and John Carr. 1973. Teaching in the Dark: Resource Guide for Movies in America. Fairfield, NJ: Pflaum-Standard. Limbacher,James L. 1985. Feature Films Availablefor Rental, Sale & Lease: A Directoryof Feature Films on Sixteen mm, & Videotape, eighth edition. New York: R.R. Bowker. Maltin, Leonard,ed. 1983. The WholeFilm Sourcebook. New York: Universe. Mast, Gerald. 1986. A Short History of the Movies, fourthedition. New York: Bobbs-Merrill. Maynard, Richard A. 1971. The Celluloid Curriculum: How to Use Movies in the Classroom. New York: Hayden. Monaco, Paul. 1976. Cinema and Society. New York: Elsevier. Peyton, Patricia. 1979. Reel Change: A Guide to Social Issue Films. San Francisco:The Film Fund. Prendergast, Christopher. 1986. "Cinema Sociology:

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Cultivating the Sociological Imagination Through PopularFilms." TeachingSociology 14:243-248. Scheuer,Steven H., ed. 1986. Movieson TV:1987-1988. Toronto:BantamBooks. Sklar, Robert. 1976. Movie-MadeAmerica: A Cultural History of AmericanMovies. New York: Random. Smith, Don D. 1973. "TeachingIntroductory Sociology by Film," TeachingSociology 1:48-61. . 1982. "Teaching Undergraduate Sociology Through Feature Films." Teaching Sociology 10: 98-101. to the Use of Wolensky, RobertP. 1982. An Introduction EducationalFilm in TeachingSociology: Using Films in Sociology Courses. Washington, DC: American Sociological Association.

C. Emory Burton is Associate Professor of Sociology at HowardPayne Universityand an active memberof the International Visual Sociology Association. Address correspondenceto C. Emory Burton, 7150 E. Grand Ave., Dallas, TX 75223.

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