By Greg M. Smith
In the course of its five-year run from 1997 to 2002, the preferred television express "Ally McBeal" engaged audience in debates over what it capacity to be a girl or a guy within the glossy office; how romance elements into the healing figuring out of relationships; what worth eccentricity has and what kind of oddity society should still tolerate; and, what application myth has within the pragmatic international. as well as those social matters, besides the fact that, "Ally McBeal" stood out for being well-constructed, narratively complicated, and stylistically wealthy - briefly, attractive television. ranging from the basis that a lot of tv this present day is 'drop-dead beautiful' and that television will be studied for its formal traits in addition to its social effect, Greg M. Smith analyzes "Ally McBeal" by way of its aesthetic ideas and narrative construction.He explores how 'Ally's' leading edge use of tune, lighting tricks, myth sequences, voiceovers, and flashbacks constructions a particular fictional universe, whereas it additionally opens up new percentages for televisual expression. Smith additionally discusses the complicated narrative suggestions that 'Ally's' writer David E. Kelley used to increase a long-running storyline and exhibits how those serial narrative practices can assist us comprehend a variety of prime-time television serials. by means of taking heavily the artwork and argument of "Ally McBeal", "Beautiful television" conclusively demonstrates that aesthetic and narrative research is an imperative key for unlocking the richness of latest tv.
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Extra resources for Beautiful TV: The Art and Argument of Ally McBeal
23 Similarly, John uses The Music Man’s “We Got Trouble” as a point of comparison in a case involving a senator’s politically motivated attack on a small bookstore. The senator’s diatribes about pornography duplicate Harold Hill’s scapegoating of the pool hall, and instead of simply making this comparison in spoken words, John wants to get the jury more directly involved. 24 That both of these examples involve gospel-tinged call-and-response emphasizes that music is discourse, that it can be a conversation between people.
The central example here is John Cage’s appropriation of Barry White and a sample from the theme from Rocky. For John to transform himself from a shy, stuttering, awkward, insecure bumbler to the biggest heavy-hitter at Cage and Fish requires remarkable magic, and John has happened upon an incantation that works for him again and again: “the bells,” as he calls them, from Rocky. Listening to the bells is a dependable ritual that John uses to give shy persons the strength to get up and do what needs to be done.
Using these songs in conjunction with certain narrative moments anchors these generalities and gives the songs a more specific range of meanings. Doing so takes advantage of the evocative power that familiar pop songs have gained through the years, and it exploits those connotations to make more precise points about the story lines. Ally characters sometimes liberate lyrics from their musical settings and use them to try to get their way. Richard tries to seduce Jenny’s mother (played by Jacqueline Bisset) by using his best pickup lines, which he cribs from popular songs and pawns off as his own words.