murray-pomerance
Notes on Sans Soleil
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
My Letter from Siberia
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
Blood from a Stone
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
Boy Meets Girl: Architectonics of a Hitchcockian Shot
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
Significant Cinema: The Scene of the Crime
The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films
The Wages of Fear
“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
Feed Me Grapes
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
Notes on Some Limits of Technicolor: The Antonioni Case
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
Down and Away to Botany Bay
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”
Recuperation and Rear Window
James Stewart in Rear Window is convalescent, not mentally disturbed, argues Pomerance – whose own experience of immobilising injury gave him a chance to see