An Ambiguous Gesture: Judith Anderson Turns the Table Murray Pomerance July 2020 Feature Articles Windows or Doors: Doors and Windows John Szarkowski’s 1978 show (and book) Mirrors and Windows: American Photography since 1960 explored the movement in the American photographic scene from concerns with publi...
Man Survives Film: On Peter Treherne’s Talking Head Murray Pomerance October 2019 Feature Articles 1 A man is driving a vehicle down a motorway and we are watching him, in profile, from the passenger seat as past his head cars overtake him or speed by in the opposite direction, all with unpredictable freq...
Le Goût du crime: Notes on Gangster Style in New-Wave Paris: Part II Murray Pomerance March 2018 Feature Articles In the second instalment of his two-part article, Canadian film scholar and regular Senses of Cinema contributor Murray Pomerance continues his thoughts on the trope of the gangster in four films shot in Paris ...
Le Goût du crime: Notes on Gangster Style in New-Wave Paris: Part I Murray Pomerance December 2017 Feature Articles In this, the first instalment of a two-part article, Canadian film scholar and regular Senses of Cinema contributor Murray Pomerance presents his thoughts on the trope of the gangster in four films shot in Pari...
The Ladies Man (1961) Murray Pomerance July 2016 Deconstructing Jerry: Lewis as Director Bad Fit: The Ladies Man (1961) Players and painted stage too all my love And not those things that they were emblems of. William Butler Yeats, “The Circus Animals’ Desertion” What is it to love cinema – bey...
X: The Man with the X-Ray Eyes Murray Pomerance May 2013 CTEQ Annotations on Film Let us say that I am in London’s National Gallery, looking at Giovanni Battista Viola’s “Landscape with a Hunting Party”, which could not have been painted after the artist’s death in 1622. Here we have somethi...
Notes on Sans Soleil Murray Pomerance March 2013 Feature Articles 1 “I’ve been around the world several times, and now only banality still interests me.” At the beginning of Chris Marker’s Sans soleil (1983), a voice tells us, “He wrote” this. “He”: Marker? We have no ...
My Letter from Siberia Murray Pomerance September 2012 Chris Marker Dossier, Feature Articles I went with my close friends Steve Miller and Nancy Corwin, sometime in the autumn of 1969 (when I was twenty-three), to see Chris Marker’s Letter from Siberia at the New Yorker on Manhattan’s Upper West Side. ...
Blood from a Stone Murray Pomerance July 2012 Feature Articles It’s a difficult enough task to film New York. I do not mean by this, of course, to set all or part of a film in New York, as so many have done who neither deeply know nor particularly love the place (The Adju...
Boy Meets Girl: Architectonics of a Hitchcockian Shot Murray Pomerance April 2012 Feature Articles Boy meets girl…and falls in love. In this case, Cary Grant with Ingrid Bergman in Notorious. Murray Pomerance’s analysis demonstrates how Hitchcock’s astute mise-en-scene makes it happen.
Significant Cinema: The Scene of the Crime Murray Pomerance December 2011 Feature Articles The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films.
The Wages of Fear Murray Pomerance November 2011 CTEQ Annotations on Film “Let me tell you the story”, Henri-Georges Clouzot appears to be offering in Le Salaire de la peur (The Wages of Fear, 1953), “of four strange men. Four lonely men, and their intertwined fate.” Not friends as m...