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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 foste

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 foste

Elizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes

Elizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes

Examines the many forms of cinematic "badness" over the past one hundred years, from Nosferatu to The Talented Mr. Ripley.

The Eyes Have It explores those rarified screen moments when viewers are confronted by sights that seem at once impossible and present, artificial and stimulating, illusory and definitive.Beginning wi

While film scholarship began with discussions of aesthetics, for decades scholars have been delivering analytical summaries, descriptive narratives, and cultural critiques, rarely addressing what mov

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.

An exploration of our fascination with Johnny Depp, his riddling complexity, and his meaning for our culture studies the actor's image in terms of its ambiguity and its many strange nuances. Simultane

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 c

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 c

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 n

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

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