Author Murray Pomerance

“Landscapes, faces, and objects ask only for their own beauty, unadorned, free of pathos, like the world seen for the first time.” - Nestor Almendros The well-worn adage of hindsight being 20/20 helps ma...

The European Magazine for January, 1783, describes as fashionable: Elliott’s Red-Hot Bullets and The Smoke of the Camp of St. Roche. It is manifestly impossible to identify exactly or to obtain authentic sample...

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...

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...

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 ...

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...

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...

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...

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 ...

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. ...

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…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.

The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films.

“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...

In the light of Alain Della Negra and Kaori Kinoshita’s documentary, The Cat, The Reverend and the Slave, Murray Pomerance takes pause to reflect on the subject of that documentary, the “virtual world” found in the game called Second Life.

Whilst looking at the long and illustrious history of Technicolor films, Murray Pomerance uncovers the remarkable uses Michelangelo Antonioni put the Technicolor process through in his 1964 Red Desert and beyond.

Pomerance looks at one of Australian-born John Farrow’s least-known films, the 1953 Botany Bay, through the prism of Hollywood’s representation of the “land down-under”.

James Stewart in Rear Window is convalescent, not mentally disturbed, argues Pomerance – whose own experience of immobilising injury gave him a chance to see this Hitchcock classic from a new angle.