Conference on the Americas! and a copyright question

I'm very excited to share this news with you:  the call for participation for the 10th annual Conference on the Americas has been extended to January 23, 2009.  The topic this year is "Immigration:  The Art and Politics of Movement," and they're configuring it expansively, so if you're doing anything connected with immigration, submit a proposal!  Or just check it out!

If you go, we can hang out!--because I'll be giving the keynote address, which is tentatively titled, "Lopez from Stage to Screen:  Disciplining the Borders of the Body and the Nation-State in Real Women Have Curves."  This is the first time I'll have ever given a keynote lecture, so I'm excited (and nervous!).  But I've been thinking about this topic for a long time now, and I have a lot to say.  It's basically about the differences between the play version that Josefina Lopez originally wrote and the version that made it to the big screen (which she co-wrote with George LaVoo).  The differences between the two are huge and have all sorts of really interesting ideological implications. 

When I taught Chicana/Chicano lit this fall, we read/watched both versions and talked about the changes that were made.  (My students were great--they saw stuff I didn't even notice.)  I'm going to try to tease those out differences, and their political implications for us as artists and as audience members, in the lecture.  We'll see how it goes. 

But here's a snag:  the organizers have scheduled the lecture in this gorgeous auditorium with a big screen, so I thought I'd be able to compare clips from the movie with scenes from the play (thus cleverly keeping the audience awake), but I learned yesterday from a colleague that showing clips from a DVD violates copyright law.   Is that true?  Does anybody know?  How do film studies scholars illustrate their points when they give papers at conferences?   Help, blog community!  There's got to be a way.