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more effective than efforts aimed at the broadest possible audience. Using a "rifle" rather than a "shotgun" approach, they prefer to work with groups of common backgrounds and interests such as relatives of mental patients, parents of firstborn children, or potential employers of the mentally retarded — to name a few. Thus, the selection of an appropriate film is especially important, for films which try to say everything to every- body usually fail. This guide attempts to tell enough about the content, purpose, intended audiences, and uses of each film to facilitate matching a film to a particular audience. It is fairly standard practice for the program chairman or the discussion leader to allow the group itself to decide on the subject matter of the meeting, although the leader may offer a choice of topics. The leader's next task is to find an appropriate film that will capture their interest, provide information, and stimulate a fruitful discussion. If possible, he should see the film first to prepare notes for the discussion, for the skillful program leader knows that the true objective of the film-showing is a lively discussion between the members of the group after the screening. Introducing the Film Although it is unrealistic to expect films to solve problems or to say all there is to say about a given subject, many individuals in an audience do make these demands on films. For this reason, the film should be intro- duced briefly at the start of the program to set the stage and state the purpose of the film. The leader may want the audience to overlook out-of- date clothing, cars, hair styles (especially necessary when films are shown to young people), or he may want to relate the situation in the film to a specific problem in the audiences community (for example, establishing a community mental health center). Audience Identification Devices Films which tell a story usually can be counted on to exert a strong emo- tional influence on the members of the audience who will identify with one or more characters in the film. This influence can be helpful in chang- ing attitudes. Some imaginative film-users have asked one section of the audience to identify with one character while other sections were asked to identify with others. In a film on sibling rivalry, for example, one part of the group could be asked to identify with the younger child, another to identify with the older child, while still another sub-group would be asked to identify with the parents. Their feelings and reactions to the situations depicted in the film would then be colored by their assigned identifications. Some people feel more comfortable about disclosing feel- ings if they speak "in character." 92