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Cinema, If You Please
In Cinema, If You Please, Murray Pomerance explores our ways of watching film in light of socially organized forms of pleasure that date back to the seventeenth and eighteenth centuries. Wedding the notion of pleasure in film viewing to the history of pleasure in the West, the book considers pleasure gardens and promenading; the history of oil painting and its display; the passion for travel and exposure to the exotic and strange; and forms of musical repetition and restatement. With in-depth studies of films like Vertigo, The Passenger, A Matter of Life and Death, Clouds of Sils Maria, Personal Shopper, Call Me By Your Name and Blow-Up, this ground-breaking book draws the reader into the past and the present at once, joining an understanding of personal and visual delight to their cultural and historical roots.
Cinema and Modernity
Brings together several essays by seventeen scholars to explore the complexity of the essential connection between film and modernity. This volume shows us the significant ways that film has both grown in the context of the modern world and played a central role in reflecting and shaping our interactions with it.
Uncanny Cinema
Murray Pomerance's latest book explores an encyclopedic range of films and television shows to demonstrate the difficulty of conveying the experience of viewing cinema through words and the medium of text. From On the Waterfront to Marriage Story, Uncanny Cinema illuminates that words and writing are in perilous waters when applied to cinema, similar to ungestured talk. The book begins with this problem using Julian Jaynes's thoughts on vocality and imagination before delving into three exploratory 'movements' arranged to alternately challenge, inspire, and confound the reader to question if we know what we think we know or even see what we think we see. The viewer is faced with disturbances, ruptures, and surprises that occur during the viewing experience, which Pomerance analyzes to stretch the sense of what we do and do not (or, possibly, cannot) know, particularly as we think, talk, and write about cinema.
Marnie
A thrilling tale of anxiety and moral extremity, Marnie (1964) cemented Alfred Hitchcock's reputation as a master of suspense and the visual form. Murray Pomerance here ranges through the many tortuous and thrilling passages of Marnie, weaving critical discussion together with production history to reveal Marnie as a woman in flight from her self, her past, her love, and the eyes of surveilling others. Challenging many received opinions – including claims of technical sloppiness and the proposal that Marnie's marriage night is a 'rape scene' – Pomerance sheds new light on a film that can often be difficult to understand and accept on its own terms. Original and stimulating, this BFI Film Classic identifies Marnie as one of Hitchcock's masterpieces, highlights the film's philosophical and psychological sensitivity, and reveals its sharp-eyed understanding of American society and its mores.
The Man Who Knew Too Much
Murray Pomerance offers an illuminating account of one of Hitchcock's most intruiging and successful films, The Man Who Knew Too Much (1956), starring James Stewart and Doris Day. Through a close reading of the film alongside analysis of its complex production history, Pomerance's analysis highlights its darkest nuances, and its themes of musicality, gendered power, and cultural strangeness. He proposes that, far from being a merely charming escapade, the film tells a strange story of doubling, spiritual presence, and the intricacies of social organisation.
Bad
Examines the many forms of cinematic "badness" over the past one hundred years, from Nosferatu to The Talented Mr. Ripley.
Edge of the Screen
"This book is a series of seventeen mediations that revolve around the notion of the viewer's placement at the edge of the screen to reconsider what it is that we watch when we watch a film, what happens to us, and how we make sense of and appreciate it. This book analyzes several films, including 2001: A Space Odyssey, Memento, Zabriskie Point, An American in Paris, Planet of the Apes (1968), Superman (1978), Possessed, The Jungle Book (1942), The Spy Who Came In from the Cold, The Toll of the Sea, Rope, among others"--
The Film Cheat
Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented. This usually calls for a suspension of disbelief in the viewer, but that rests on the assumption that disbelief is problematic for viewership, and that we must find some way to “suspend” or “disconnect” it in order to allow for the entertainment of the fiction in its own terms. The Film Cheat explores forty-five aspects of the 'cheat,' analyzing classic films such as Singin' in the Rain and Chinatown, to more contempo...
Moment of Action
There are hundreds of biographies of filmstars and dozens of scholarly works on acting in general. But what about the ephemeral yet indelible moments when, for a brief scene or even just a single shot, an actor’s performance triggers a visceral response in the viewer? Moment of Action delves into the mysteries of screen performance, revealing both the acting techniques and the technical apparatuses that coalesce in an instant of cinematic alchemy to create movie gold. Considering a range of acting styles while examining films as varied as Bringing Up Baby, Psycho, The Red Shoes, Godzilla, and The Bourne Identity, Murray Pomerance traces the common dynamics that work to structure the comple...
Michelangelo Red Antonioni Blue
Michelangelo Antonioni, who died in 2007, was one of cinema’s greatest modernist filmmakers. The films in his black and white trilogy of the early 1960s—L’avventura, La Notte, L‘eclisse—are justly celebrated for their influential, gorgeously austere style. But in this book, Murray Pomerance demonstrates why the color films that followed are, in fact, Antonioni’s greatest works. Writing in an accessible style that evokes Antonioni’s expansive use of space, Pomerance discusses The Red Desert, Blow-Up, Professione: Reporter (The Passenger), Zabriskie Point, Identification of a Woman, The Mystery of Oberwald, Beyond the Clouds, and The Dangerous Thread of Things to analyze the director’s subtle and complex use of color. Infusing his open-ended inquiry with both scholarly and personal reflection, Pomerance evokes the full range of sensation, nuance, and equivocation that became Antonioni’s signature.
