Greg M. Smith – författare

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.

Films evoke broad moods and cue particular emotions that can be broadly shared as well as individually experienced. Although the experience of emotion is central to the viewing of movies, film studies have neglected to focus attention on the emotions, relying instead on vague psychoanalytic concepts of desire. Film Structure and the Emotion System synthesizes research on emotion in cognitive psychology and neurology in an effort to provide a more nuanced understanding of how film evokes emotion. Analysing a variety and range of films, including Casablanca and Stranger than Paradise, this book offers a grounded approach to the mechanisms through which films appeal to the human emotions, demonstrating the role of style and narration in this process.

Films evoke broad moods and cue particular emotions that can be broadly shared as well as individually experienced. Although the experience of emotion is central to the viewing of movies, film studies have neglected to focus attention on the emotions, relying instead on vague psychoanalytic concepts of desire. Film Structure and the Emotion System synthesizes research on emotion in cognitive psychology and neurology in an effort to provide a more nuanced understanding of how film evokes emotion. Analysing a variety and range of films, including Casablanca and Stranger than Paradise, this book offers a grounded approach to the mechanisms through which films appeal to the human emotions, demonstrating the role of style and narration in this process.

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.

When the new medium of CD-ROMs emerged, industry figures and critics alike proclaimed their virtually unlimited potential. Adapting material from well-established media like television and film, CD-ROMs have quickly transformed genres such as science fiction and horror. At the same time, the realities of actual CD-ROMs often fall short of their utopian visions.On a Silver Platter marks a "coming of age" for CD-ROMs as a commercially and aesthetically significant medium demanding critical attention. Greg Smith brings together media scholars such as Lisa Cartwright, Henry Jenkins, Janet Murray, and Scott Bukatman to analyze how CD-ROMs offer alternatives to familiar places—to museums, to cities, and especially to classrooms. Examining specific CD-ROM titles, including, Sim City, Civilization, and Phantasmagoria, the contributors argue that CD-ROMs are complex texts worthy of close consideration, both for how they have changed our understanding of space and genre, and for how they will impact the development of future media.By examining particular CD-ROM texts and contexts, On a Silver Platter probes this new medium for insight and understanding into the current state of multimedia and into the future of technology.

When the new medium of CD-ROMs emerged, industry figures and critics alike proclaimed their virtually unlimited potential. Adapting material from well-established media like television and film, CD-ROMs have quickly transformed genres such as science fiction and horror. At the same time, the realities of actual CD-ROMs often fall short of their utopian visions.On a Silver Platter marks a "coming of age" for CD-ROMs as a commercially and aesthetically significant medium demanding critical attention. Greg Smith brings together media scholars such as Lisa Cartwright, Henry Jenkins, Janet Murray, and Scott Bukatman to analyze how CD-ROMs offer alternatives to familiar places—to museums, to cities, and especially to classrooms. Examining specific CD-ROM titles, including, Sim City, Civilization, and Phantasmagoria, the contributors argue that CD-ROMs are complex texts worthy of close consideration, both for how they have changed our understanding of space and genre, and for how they will impact the development of future media.By examining particular CD-ROM texts and contexts, On a Silver Platter probes this new medium for insight and understanding into the current state of multimedia and into the future of technology.