sociology and the feature film

Sociology and the Feature FilmAuthor(s): C. Emory BurtonSource: Teaching Sociology, Vol. 16, No. 3 (Jul., 1988), pp. 263-271Published by: American Sociological AssociationStable URL: http://www.jstor.org/stable/1317528 .

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SOCIOLOGY AND THE FEATURE FILM

C. EMORY BURTON

Howard Payne University

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, sociologically- relevantfilms 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

can provide narrative documents of the reality at issue. They serve as a bridge between the world of lectures, research, and textbooks, and the world that really matters. More than just illustration, a good film can provide emotional immediacy and probing insight (1981, p. 71).

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 matter of sociology, it is paradoxical that the discipline has not used film more than it has.

Today's students were born into a multi- media world. Writing 20 years ago, Jones (1967) claimed that masses of people are receiving much of their information in 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 instructional film in all formats can be a highly effective teaching tool. Research attests that motion picture films, under varied conditions of use, can be valuable for all age and ability groups. Experiments have demon- strated the efficacy of films to elicit student participation and 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 concurrently taught with the traditional lec- ture 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 augmented course on social movements, fully 97 percent were favorable. Prendergast (1986) reported that 63 percent of students said that their understanding of sociology improved as a result of film and discussion, and another 20 percent said "maybe a little."

Most of us emphasize reading and experi- encing sociology but do not emphasize seeing sociology. Helping students find and appreciate social phenomena is the main pedagogical value of visual media. The degree to which students can "find" sociological implications in film is at least some measure of how well they have developed a sociological perspec- tive (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 mental consideration. It is the combination of sight and sound that has been found uniquely effective for learning.

Films not only portray social conditions but they also tap the personal conditions and sensitivities of individual viewers (Demerath 1981). Through the use of well-chosen films, we will be conveying material in a maximally appealing and engrossing manner to the average college student. Many teachers have found that the most important change is in student attitude: apathy and boredom are

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



TEACHING SOCIOLOGY

frequently reduced or eliminated through use of an appropriate film (Maynard 1971, 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 attention; thus it is one of the most valuable of teaching aids" (Blishen 1970, p. 270). The things we remember the longest are the things that have emotional impact before they have intellectual impact.

For some, films can be so lifelike as to provide vicarious experiences which over- shadow life itself (Demerath 1981). And Prendergast shows that

like sociology, film exposes the viewer to social worlds beyond the orbit of personal experience . . .The film accomplishes on an empathetic level what sociology accomplishes through historical and cross-cultural comparison: creat- ing the capacity to understand oneself by understanding the broad social context (1986, p. 243).

If the film is a strong one, the viewer may not just watch the unfolding screenplay, but he or she participates in it. He or she will often identify with one of the characters, and the result of the experience may be that the viewer may learn something of what it feels like to stand in the shoes of a person of a different time, nationality, ethnic group, or of some other situation vastly dissimilar to his or her own (such as a lower-class ghetto). He or she sees the world through another's eyes (Jones 1967, p. 64), verstehen as Weber used the term. Blishen (1970, p. 270) adds that film can give students vicarious experience of life and work in any part of the world.

Films may reveal a situation foreign to students' experience and demonstrate un- known terms; frequently the verbal explana- tion requires direct visual experience (Wo- lensky 1982, p. 2). Some think film may not only reinforce sociological concepts, but can lead to the discovery of concepts. Appropriate films can help overcome the individualistic bias of many students by making clear the sociocultural context.

Most sociology teachers who appreciate films are inclined to use the documentary, such as the excellent ones by Frederick Wiseman (Curry 1985) or the short films available from various sources. But the full development of idea and characterization is best obtained with a full length, feature film.

And as Wolensky says: "With an eventual mass market for 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, recommends showing the films in the classroom. This procedure may be appropriate if one is teaching in a mini-term 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 program most schools use once or twice a year. Sponsors of the film series are usually open to recommendations for good films, and their budgets are probably already approved. If you can assure the sponsors of having one or more sociology classes present at a showing, they may be more likely to book the film. When you recommend an appropriate film, suggest that it be shown on at least two occasions, to give your students more opportunity to attend.

There may be a library or other organiza- tion in the community that shows films periodically: its sponsors might be open to suggestions. Sometimes "film festivals" offer a series of films on a given topic or films from the same country. Your proposals to them could result in some excellent films being shown, and it may well be possible for you to have your students attend.

If these suggestions are not feasible, you may need to rent the film yourself and arrange for a showing at a time other than your regular class period (unless that period is an unusually long one). (For sources of films, see Limbacher 1985; Maltin 1983; or the consortium of university film centers 1980.) It may be worthwhile to combine two or more classes for the showing. A combination will be easy if you are at a large university where several sections of one course are offered. Otherwise, consider combining with a class from a related discipline. Doing so will assure a large audience and probably help with the cost.

You may wish to keep alert for a relevant film on television and ask your students to view it. Local TV network stations may put you on their mailing list for advanced program information. But many films are not particularly suited for television, are often cut to fit a time slot, and usually are interrupted

264




for commercials. If you do wish to use a film on TV for your class, do not simply ask your students to see it; most of them will forget or will have some other excuse for not watching. Meeting at someone's home for the viewing of a good film could work well and has the advantage of 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 analyst Paul Kagan, 70 percent of U.S. homes will have one (Block 1985). Films on cassettes are increasingly available through catalogs and local outlets. It is possible to obtain one (or make your own taping of 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 (relatively simple to arrange with a good VCR), perhaps to illustrate certain 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 indispens- able 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 quotations from the film, but this procedure is optional. In any case, each film should be introduced, presented, and discussed with a sociological orientation. As Wolensky puts it:

The teacher's role is to sensitize students to appropriate concepts, norms, structures, precip- itating events, and so forth, such that a film can be 'seen' sociologically (1982, p. 4).

It is essential that discussion be a required part of the experience. If a general audience is 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 adequately discussed only by a small

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. Students themselves may recognize sociological themes in one or more of the scenes in the film.

Each group leader should have some understanding of group dynamics. Hill stresses that the discussion group should have some method of proceeding, and he recommends a "Group Cognitive Map," which consists of: a grasp of the overall meaning of the film; allocation of time so that not too much time is spent on just one aspect; discussion of major themes and subtopics; integration of material with other knowledge (such as the text); application of material; evaluation of the film; and evaluation of the group itself (Hill 1977, pp. 25-30).

A good discussion consists of interaction and feedback, not just a rotation of view- points. The types of things that Hill encour- ages are restating what others have said, formulating examples (from real life as well as the film), asking questions, adding to 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 (Prendergast 1986). Deme- rath (1981) suggests we focus not on the main character but on the "best friend." In most films, the main character is atypical, but secondary characters frequently enact the very rules to which the heroes are exceptions.

The importance of films will be reinforced if instructors mention 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 film." Participation in discussion is a form of 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

265



266

16mm format, videocassettes, or discs; some are available for rent or purchase, and many will undoubtedly be shown on television.

The Grapes of Wrath (directed by John Ford, 1940): Today's students may be surprised to 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 brilliant tyrant who built up a vast newspaper chain, sacrificing his happiness along the way. An unequalled film study of power.

The Ox-Bow Incident (William Wellman, 1943): An unforgettable drama about a lynch mob, appropriate for a course in collective behavior. Compare Fritz 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 outstanding film and cast, useful in depicting social interaction (introductory, social psychol- 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. Appropriate for introductory or social psychol- ogy.

Sounder (Martin Ritt, 1972): A simple story of a family of black sharecroppers in Louisiana during the Depression. I used this in a class in poverty, but it is perhaps more relevant for a course in the black experience.

One Flew Over the Cuckoo's Nest (Milos Forman, 1975): A feisty misfit (Jack Nichol- son) enters a mental hospital and inspires his fellow patients to assert themselves. Provoca- tive for a course in deviance or mental illness.

Gandhi (Richard Attenborough, 1982): A sweeping account of the life and times of the Indian saint, with a memorable performance by Ben Kingsley. This long film (188 minutes) could be used for social movements,

TEACHING SOCIOLOGY

minorities, religion, or charismatic leadership.

Tender Mercies (Bruce Beresford, 1983): A low-key film about an alcoholic country singer (Robert Duvall) who puts his life back together when he meets a young widow and her little boy. Useful for a course in family, or perhaps deviance or religion.

The Appendix lists films in 39 categories, which should be considered only approxima- tions. Obviously many films might fit into several categories. To attempt to cross-list all the films by subject would produce more clutter than clarity. By consulting Scheuer (1986) or works of film critics such as Stanley Kauffmann (my favorite), Pauline Kael, Judith Crist, 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 grouped under "Responsibility" include several that raise pertinent issues about the operation of social norms and the complex relations between the individual and the group. Two films previ- ously discussed, Twelve Angry Men and The Pawnbroker, would have been placed in this category.

Because my focus is on feature films, no consideration has 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 cautionary measure, I have placed the symbol "L" immediately after the title of a film more than 150 minutes long.

Be aware that some of these films are quite old; many are in black and white; some are made-for-television movies (marked TVM); and several are foreign-language films (though I believe all have been dubbed into English or have English subtitles). Films that originate from countries other than the United States or Great Britain are indicated with a two-letter abbreviation of 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; AU- Australia; CZ- Czechoslovakia; FR- France; GY- Ger- many; IN- India; IT- Italy; JA- Japan; MX- Mexico; SW- Sweden.




Appendix. Other Sociologically Relevant Films

Title Director Year

A Tree Grows in Brooklyn Breaking Away

Ikiru (Living) (JA) Umberto D (IT) Shameless Old Lady (FR) Wild Strawberries (SW) On Golden Pond

The Lost Weekend Days of Wine and Roses

Gentleman's Agreement The Diary of Anne FrankL

Juarez King: A Filmed Record: Mont

The Stars Look Down King's Row How Green Was My Valley The Magnificent Ambersons Ramparts of Clay (FR-AL) Amarcord (IT-FR)

Scarface Double Indemnity The Asphalt Jungle Breathless Bonnie and Clyde The GodfatherL The Godfather IIL

Dead End The Young and the Damned (] The 400 Blows (FR)

Force of Evil Midnight Cowboy Taxi Driver The Elephant Man

The Man With the Golden An A Hatful of Rain Go Ask Alice (TVM)

Our Daily Bread Sullivan's Travels Shoeshine (IT) Country

The Homecoming Kramer vs. Kramer Ordinary People Something About Amelia (TV

ADOLESCENCE Elia Kazan Peter Yates

AGING Akira Kurosawa Vittorio de Sica Rene Allia Ingmar Bergman Mark Rydell

ALCOHOLISM Billy Wilder Blake Edwards

ANTI-SEMITISM Elia Kazan George Stevens

CHARISMATIC LEADERSHIP William Dieterle

gomery to Memphis Joseph L. Mankiewitz and Sidney Lumet COMMUNITY

Carol Reed Sam Wood John Ford Orson Welles Jean-Louis Bertucelli Federico Fellini

CRIME (See Deviance, Police, Prisons)

Howard Hawks Billy Wilder John Huston Jean-Loc Godard Arthur Penn Francis Ford Coppola Francis Ford Coppola

DELINQUENCY William Wyler

Los Olvidados) (MX) Luis Bunuel Francois Truffaut

DEVIANCE (See Nonconformity, Alcoholism, Drugs, Prostitution)

Abraham Polansky John Schlesinger Martin Scorese David Lynch

DRUGS m Otto Preminger

Fred Zinnemann John Karty

ECONOMIC ISSUES (See Labor Unions, Poverty)

King Vidor Preston Sturges Vittorio de Sica Richard Pearce

FAMILY (See Adolescence, Marriage)

Peter Hall Robert Benton Robert Redford Randa Haines 'M)

1945 1979

1952 1955 1965 1967 1981

1945 1962

1947 1959

1939 1970

1939 1941 1941 1942 1970 1973

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

267



Appendix. Continued

Title Director Year

The Great Dictator To Be or Not to Be

The Pumpkin Eater A Doll's House Hedda My Brilliant Career (AU) Coal Miner's Daughter

The EmigrantsL (SW) The New LandL (SW) Hester Street

The Organizer (IT) Adalen 31 Harlan County USA Norma Rae Matewan

Ugetsu (JA) Who's Afraid of Virginia Woolf? Faces Scenes From a MarriageL A Brand New Life (TVM)

The Front Page The Big Carnival (Ace in the Hole) The Sweet Smell of Success A Face in the Crowd Network

A Streetcar Named 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 Garden of the Finzi-Continis (IT-GY) Little Big Man Conrak The Autobiography of Miss Jane PittmanL

(TVM)

The Loneliness of the Long-Distance Runner Cool Hand Luke

Detective Story Touch of Evil Serpico

The Informer All the King's Men The Best Man

FASCISM Charles Chaplin Ernst Lubitsch

FEMINISM Jack Clayton Patrick Garland Trevor Nunn Gillian Armstrong Michael Apted

IMMIGRANTS Jan Troell Jan Troell Joan Macklin Silver

LABOR UNIONS Mario Monicelli Bo Widerberg Barbara Kopple Martin Ritt John Sayles

MARRIAGE (See Family)

Julien Duvivier Mike Nichols John Cassavetes Ingmar Bergman Sam O. Steen

MEDIA Lewis Milestone Billy Wilder Alexander Mackendrick Elia Kazan Sidney Lumet

MENTAL ILLNESS Elia Kazan Nunnally Johnson Guy Green Frank Perry Ingmar Bergman Ingmar Bergman Daniel Petrie

MINORITIES (See Prejudice)

Daniel Petrie Vittorio de Sica Arthur Penn Martin Ritt John Karty

NONCONFORMITY (See Responsibility)

Tony Richardson Stuart Rosenberg

POLICE William Wyler Orson Welles Sidney Lumet

POLITICS John Ford Robert Rossen Franklin Schaffner

1940 1942

1964 1973 1975 1979 1980

1971 1973 1975

1964 1969 1977 1979 1987

1948 1966 1968 1973 1973

1931 1951 1957 1957 1976

1951 1957 1961 1962 1966 1975 1976

1961 1970 1972 1974 1974

1962 1967

1951 1958 1973

1935 1950 1950

Continued

268 TEACHING SOCIOLOGY




Appendix. Continued

Title Director Year

The Last Hurrah Z (FR-AL) All the President's Men Gideon's Trumpet (TVM)

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

Home of the Brave Intruder in 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)

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 Blackboard Jungle 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

POLITICS (Continued) John Ford Constantin Costa-Gavras Alain Tanner Robert Collins

POVERTY (See Economic Issues)

Jean Vigo Jean Renoir Vittorio de Sico Satyajit Ray Ernando Olmi

PREJUDICE (See Anti-Semitism)

Mark Robson Clarence Brown Joseph Mankiewicz Stanley Kramer Robert Mulligan Michael Roemer David Lean

PRISONS Mervyn LeRoy Sidney Lumet Tom Gries

PROSTITUTION Federico Fellini Robert Altman Alan J. Pakula

RELIGION Fred Zinnemann Ingmar Bergman Richard Brooks John Huston Alain Cavalier

REVOLUTION Elia Kazan Gillo Pontecorvo Warren Beatty Roger Spottiswoode

RESPONSIBILITY Frank Capra Fred Zinnemann Ralph Nelson Zan Kadar Fred Zinnemann

SCHOOLS Richard Brooks Robert Mulligan Don Taylor Jud Taylor

SOCIAL CLASS Anthony Asquith Jean Renoir Jack Clayton Jack Clayton

1958 1969 1976 1980

1934 1945 1949 1956 1978

1949 1949 1950 1958 1962 1964 1984

1932 1965 1972

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

269



Appendix. Continued

Title Director Year

si The Swimmer The Discreet Charm of the Bourgeoisie (FR)

Moder Times La Dolce VitaL (IT) The Exterminating Angel (FR)

The Miracle Worker L'Enfant Sauvage (Wild Child) (FR)

Rome, Open City (IT) Edge of the City Mean Streets Fat City

All Quiet on the Western Front La Grande Illusion (FR) Paths of Glory Dr. Strangelove or, How I Learned to Stop

Worrying and Love the Bomb Fail Safe Shame (SW) PattonL Das Boot (GY)

The Best Years of Our Lives The Men Coming Home (US-FR-IT) Friendly Fire (TVM) The Day After (TVM)

The Graduate Easy Rider Alice's Restaurant

Monsieur Verdoux La Strada (IT) The Seventh Seal (SW) Wild River L'Avventura (IT-FR) A Taste of Honey The Passion of Anna (SW) Nashville Heartland

REFERENCES

Allen, W.H. 1960. "Audio-Visual Communication." Pp. 115-137 in Encyclopedia of Educational Research, third edition, edited by C.W. Harris. New York: Macmillan.

Blackaby, Linda, Dan Georgakas, Barbara Margolis. 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. Educational Film Locator, second edition. New York: R.R. Bowker.

OCIAL CLASS (Continued) Sydney Pollack Luis Bunuel

SOCIAL SYSTEM Charles Chaplin Federico Fellini Luis Bunuel

SOCIALIZATION Arthur Penn Francois Truffaut

URBAN Roberto Rosselini Martin Ritt Martin Scorsese John Huston WAR Lewis Milestone Jean Renoir Stanley Kubrick Stanley Kubrick

Sidney Lumet Ingmar Bergman Franklin Schaffner Wolfgang Petersen

WAR'S AFTERMATH William Wyler Fred Zinnemann Arthur Penn and John Frankenheimer David Greene Nicholas Meyer

YOUTH IN THE 60s Mike Nichols Dennis Hopper Arthur Penn

OTHER FILMS Charles Chaplin Frederico Fellini Ingmar Bergman Elia Kazan Michaelangelo Antonioni Tony Richardson Ingmar Bergman Robert Altman Richard Pearce

Curry, Timothy J. 1984. "Sociological Films." Contem- porar. Sociology 13:42-44.

1985. "Frederick Wiseman: Sociological Film- maker?" Contemporary Sociology 14:35-39.

DeFronzo, James. 1982. "A Film Augmented Course 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. "Through a Double- Crossed Eye." Teaching Sociology 9:69-82.

Halliwell, Leslie. 1985. Halliiwell's Film Guide, fourth edition. New York: Charles Scribner's Sons.

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

TEACHING SOCIOLOGY 270




Hill, William Fawcett. 1977. Learning Thru Discussion. 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 Available for Rental, Sale & Lease: A Directory of Feature Films on Sixteen mm, & Videotape, eighth edition. New York: R.R. Bowker.

Maltin, Leonard, ed. 1983. The Whole Film Sourcebook. New York: Universe.

Mast, Gerald. 1986. A Short History of the Movies, fourth edition. 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:

Cultivating the Sociological Imagination Through Popular Films." Teaching Sociology 14:243-248.

Scheuer, Steven H., ed. 1986. Movies on TV: 1987-1988. Toronto: Bantam Books.

Sklar, Robert. 1976. Movie-Made America: A Cultural History of American Movies. New York: Random.

Smith, Don D. 1973. "Teaching Introductory Sociology by Film," Teaching Sociology 1:48-61.

. 1982. "Teaching Undergraduate Sociology Through Feature Films." Teaching Sociology 10: 98-101.

Wolensky, Robert P. 1982. An Introduction to the Use of Educational Film in Teaching Sociology: Using Films in Sociology Courses. Washington, DC: American Sociological Association.

C. Emory Burton is Associate Professor of Sociology at Howard Payne University and an active member of the International Visual Sociology Association. Address correspondence to C. Emory Burton, 7150 E. Grand Ave., Dallas, TX 75223.

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