Greg M. Smith

Film Structure and the Emotion System

You probably already have a clear idea of what a "discussion guide for students" is: a series of not-very-interesting questions at the end of a textbook chapter. Instead of triggering thought-provoking class discussion, all too often these guides are time-consuming and ineffective. This is not that kind of discussion guide. What Media Classes Really Want To Discuss focuses on topics that introductory textbooks generally ignore, although they are prominent in students' minds. Using approachable prose, this book will give students a more precise critical language to discuss "common sense" phenomena about media. The book acknowledges that students begin introductory film and television courses thinking they already know a great deal about the subject. What Media Classes Really Want To Discuss provides students with a solid starting point for discussing their assumptions critically and encourages the reader to argue with the book, furthering the 'discussion' on media in everyday life and in the classroom.

A Student Guide

What Media Classes Really Want to Discuss

Carl Plantinga

The movie theater has always been a place where people come together to share powerful emotional experiences, from the fear generated by horror films and the anxiety induced by thrillers to the laughter elicited by screwball comedies and the tears precipitated by melodramas. Indeed, the dependability of movies to provide such experiences lies at the center of the medium's appeal and power. Yet cinema's ability to influence, even manipulate, the emotions of the spectator is one of the least-explored topics in film theory today. In Passionate Views, thirteen internationally recognized scholars of film studies, philosophy, and psychology explore the emotional appeal of the cinema. Employing a novel cognitive perspective, the volume investigates the relationship between genre and emotion; explores how film narrative, music, and cinematic techniques such as the close-up are used to elicit emotion; and examines the spectator's identification with and response to film characters. An impressive range of films and topics is brought together by Carl Plantinga and Greg M. Smith, including: the success of Stella Dallas and An Affair to Remember as tearjerkers; the power of Night of the Living Dead to inspire fear and disgust; the sublime evoked in The Passion of Joan of Arc, Aguirre, the Wrath of God, and The Children of Paradise; the emotional basis of film comedy as seen in When Harry Met Sally; the use of cinematic cues in Raiders of the Lost Ark and Local Hero to arouse emotions; the relationship between narrative flow and emotion in Once Upon a Time in the West and E.T.; the emotive use of music in The Elephant Man and A Clockwork Orange; Stranger than Paradise's sense of timing; desire and resolution in Casablanca; audience identification with the main characters in Groundhog Day and The Crying Game; portrayal of perversity in The Silence of the Lambs, Flaming Creatures, and Shivers; and empathy elicited through closeups of actors' faces in Yankee Doodle Dandy and Blade Runner. Passionate Views offers a new approach to our understanding of film and will be of interest to anyone fascinated by the emotional power of motion pictures and their relationship to the central concerns of our lives, as well as by the techniques filmmakers use to move an audience.

Film, Cognition, and Emotion

Passionate Views

Mark Bould

Alex Woloch

Cynthia Baron

Martin F. Norden

Maureen Turim

Susan Felleman

Klaus Rieser

Rebecca M. Gordon

Laura Barrett

Hamilton Carroll

Mika Turim-Nygren

The first collection of original essays on the work of writer-director John Sayles, this book addresses the full range of his films from a variety of critical viewpoints.

New Perspectives on Independent Filmmaker John Sayles

Sayles Talk

During its five-year run from 1997 to 2002, the popular TV show Ally McBeal engaged viewers in debates over what it means to be a woman or a man in the modern workplace; how romance factors into the therapeutic understanding of relationships; what value eccentricity has and how much oddity society should tolerate; and what utility fantasy has in the pragmatic world. In addition to these social concerns, however, Ally McBeal stood out for being well-constructed, narratively complex, and stylistically rich—in short, beautiful TV. Starting from the premise that much of television today is "drop-dead gorgeous" and that TV should be studied for its formal qualities as well as its social impact, Greg M. Smith analyzes Ally McBeal in terms of its aesthetic principles and narrative construction. He explores how Ally's innovative use of music, special effects, fantasy sequences, voiceovers, and flashbacks structures a distinctive fictional universe, while it also opens up new possibilities for televisual expression. Smith also discusses the complex narrative strategies that Ally's creator David E. Kelley used to develop a long-running storyline and shows how these serial narrative practices can help us understand a wide range of prime-time TV serials. By taking seriously the art and argument of Ally McBeal, Beautiful TV conclusively demonstrates that aesthetic and narrative analysis is an indispensable key for unlocking the richness of contemporary television.

The Art and Argument of Ally McBeal

Beautiful TV

Beyond Exonerating the Innocent: Author on WAMU Radio Convicted Yet Innocent: The Legal Times Review Choice Outstanding Academic Title for 2008 DNA testing and advances in forensic science have shaken the foundations of the U.S. criminal justice system. One of the most visible results is the exoneration of inmates who were wrongly convicted and incarcerated, many of them sentenced to death for crimes they did not commit. This has caused a quandary for many states: how can claims of innocence be properly investigated and how can innocent inmates be reliably distinguished from the guilty? In answer, some states have created “innocence commissions” to establish policies and provide legal assistance to the improperly imprisoned. The Innocence Commission describes the creation and first years of the Innocence Commission for Virginia (ICVA), the second innocence commission in the nation and the first to conduct a systematic inquiry into all cases of wrongful conviction. Written by Jon B. Gould, the Chair of the ICVA, who is a professor of justice studies and an attorney, the author focuses on twelve wrongful conviction cases to show how and why wrongful convictions occur, what steps legal and state advocates took to investigate the convictions, how these prisoners were ultimately freed, and what lessons can be learned from their experiences. Gould recounts how a small band of attorneys and other advocates — in Virginia and around the country — have fought wrongful convictions in court, advanced the subject of wrongful convictions in the media, and sought to remedy the issue of wrongful convictions in the political arena. He makes a strong case for the need for Innocence Commissions in every state, showing that not only do Innocence Commissions help to identify weaknesses in the criminal justice system and offer workable improvements, but also protect society by helping to ensure that actual perpetrators are expeditiously identified, arrested, and brought to trial. Everyone has an interest in preventing wrongful convictions, from police officers and prosecutors, who seek the latest and best investigative techniques, to taxpayers, who want an efficient criminal justice system, to suspects who are erroneously pursued and sometimes convicted. Free of legal jargon and written for a general audience, The Innocence Commission is instructive, informative, and highly compelling reading.

CD-ROMs and the Promises of a New Technology

On a Silver Platter

Offers a different approach to analyzing television series. Starting from the premise that much of television is "drop-dead gorgeous" and that TV should be studied for its formal qualities as well as its social impact, this work analyzes "Ally McBeal" in terms of its aesthetic principles and narrative construction.

Greg M. Smith

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