Bøger af Murray Pomerance

A freewheeling, nonlinear exploration of the performing duo and their decade-long collaboration from 1946 to 1956.

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.

This often-startlingly original book introduces a new way of thinking about color in film as distinct from existing approaches which tend to emphasize either technical processes and/or histories of film coloration, or the meaning(s) of color as metaphor or symbol, or else part of a broader signifying system. Murray Pomerance's latest meditation on cinema has the author embed himself in various ways of thinking about color; not ways of framing it as a production trick or a symbolic language but ways of wondering how the color effect onscreen can work in the act of viewing. Pomerance examines many issues, including acuity, dreaming, interrelationships, saturations, color contrasts, color and performance (color as a performance aid or even performance substitute), and more. The lavender of the photographer's seamless in Antonioni's Blow-Up taken in itself as an explosion of color worked into form, and then considered both as part of the story and part of our experience. The 14 chapters of this book each discuss a single primary color as regards to our experience of cinema. After opening the idea of such an exploration in terms of the history of our apperception and the variation in our experience that color germinates, Color it True takes form.

The Screen Decades: American Culture/American Cinema series is now available as an twelve-volume set: American Cinema from the 1890s to the 2010s. Each volume presents a group of original essays analyzing the impact of cultural issues on the cinema and the impact of the cinema on society. Every chapter explores a spectrum of particularly significant motion pictures and the broad range of historical events to provide a continuing sense of the decade as it came to be depicted on movie screens across the nation.

Explores the director's repeated voyages into the dreamlike.

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

Examines gender roles in contemporary foreign and Hollywood films amid changing social, political, cultural, and economic conditions.

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.

This book, a collection of fifteen original essays on the film performances and stardom of John Barrymore, redresses the lack of scholarship on Barrymore by offering a range of varied perspectives on the actor s work.

With a sharp eye for social detail and the pressures of class inequality, Alfred Hitchcock brought to the American scene a perspicacity and analytical shrewdness unparalleled in American cinema.

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.

Eminent Hitchcock specialist Murray Pomerance offers an illuminating account of one of Hitchcock's most successful films, The Man Who Knew Too Much (1956), starring James Stewart and Doris Day.

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.

This is an exploration of the fascination with Johnny Depp, his riddling complexity and his meaning in today's accelerating culture. Screen performances, image, ethnicity, smoking, tranquillity, 19th century American capitalism, the perils of sleep, space travel, the myth of the West and Impressionist painting are all covered.