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Forgive my typically delayed entry into these debates, but a couple of remarks on recent topics: - the kind of films that Kate mentioned as provoking a questioning of reality - Matrix, Dark City etc (cf also Strange Days) find some intriguing parallels in films from outside Hollywood. I'm thinking in particular of Abre los ojos (Spain, Alejandro Amenabar, 1997) and Perfect Blue (Japan, Satoshi Kon, 1997). - Re. split screens. Classical narrative cinema frequently uses split screen of course to represent telephone conversations and, although I haven't seen it, I understand the recent Phone Booth makes fairly systematic use of this device. - Although there may not be (m)any split screens proper in Godard, if you're interested more generally on the placing of two or more images or screens alongside each other, then his work is crucial, especially all the video stuff. Stephen Forcer of Exeter University gave a fascinating paper about this in relation to Numero deux at last weekend's European cinema Research Forum conference at Bath university. Douglas Morrey Lecturer in French School of Modern Languages University of Newcastle upon Tyne NE1 7RU Tel: +44 (0)191 2225054