Photograph by Ariel Pomerance
Murray Pomerance is Professor in the Department of Sociology and Director of the Media Studies Working Group, at Ryerson University. He is the author of The Eyes Have It: Cinema and the Reality Effect (Rutgers, 2013), Alfred Hitchcock's America (Polity, 2013), Michelangelo Red Antonioni Blue: Eight Reflections on Cinema (California, 2011), The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory (Rutgers, 2008), Johnny Depp Starts Here (Rutgers, 2005), An Eye for Hitchcock (Rutgers, 2004), and Ludwig Bemelmans: A Bibliography (Heineman, 1993). His Ici Commence Johnny Depp appeared from Éditions Capricci in April 2010. Forthcoming is an edited volume, The Last Laugh: Strange Humors of Cinema (Wayne State). Among other books he has edited Shining in Shadows: Movie Stars of the 2000s (Rutgers, 2011), A Family Affair: Cinema Calls Home (Wallflower, 2008), City That Never Sleeps: New York and the Filmic Imagination (Rutgers, 2007), Cinema and Modernity (Rutgers, 2006), American Cinema of the 1950s: Themes and Variations (Rutgers, 2005), BAD: Infamy, Darkness, Evil, and Slime on Screen (State University of New York Press, 2004), Enfant Terrible! Jerry Lewis in American Film (New York University Press, 2002), and Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century (State University of New York Press, 2001); and has co-edited numerous volumes including Hollywood's Chosen People: The Jewish Experience in American Cinema (Wayne State), A Little Solitaire: John Frankenheimer and American Film (Rutgers, 2011), From Hobbits to Hollywood: Essays on Peter Jackson's Lord of the Rings (Rodopi, 2006), Where the Boys Are: Cinemas of Masculinity and Youth (Wayne State, 2005), Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State, 2002), and several editions of Popping Culture (most recently Pearson Education, 2012).
He has published essays on performance in Rebel Without a Cause and in The Man Who Knew Too Much (1956); and on A Stolen Life, Todd Haynes's Safe, Dino De Laurentiis's King Kong, The Talented Mr. Ripley, Gus Van Sant's Psycho and Elephant, Bernardo Bertolucci's The Dreamers, Botany Bay, food in the work of Steven Spielberg, Spielberg's Catch Me If You Can, The Cat, the Reverend and the Slave, Wings of the Morning, the city in film noir, and many of the films of Hitchcock including Rear Window and The Birds, as well as other topics including Technicolor. He has essays forthcoming on Public Enemies, Go Go Tales, Jean-Luc Godard's Passion, young bodies on the cinematic beach, gangster films, the cinematic wedding, the architecture of screen villainy, and Johnny Guitar.
Pomerance is also an author of fiction, notably Tomorrow (Oberon, 2012), Edith Valmaine (Oberon, 2010), Savage Time (Oberon, 2005), Magia d'Amore (Sun and Moon, 1999), and The Complete Partitas (Les Trois O, 1992-1995). His work has appeared in New Directions, The Paris Review, The Kenyon Review, The Boston Review, Chelsea, Confrontation, and Descant. He is a 1992 O. Henry prize winner.
In August 2009, he appeared on Broadway in conjunction with a performance of The 39 Steps.
He is editor of the "Horizons of Cinema" series at State University of New York Press and the "Techniques of the Moving Image" series at Rutgers, and, with Lester D. Friedman and Adrienne L. McLean respectively, co-editor of both the Screen Decades and Star Decades series at Rutgers University Press. He is on the editorial board of Rodopi's Contemporary Cinema series, the THYMOS: Journal of Boyhood Studies, and In Short.
From 2005 until 2010, he was film reviewer on JAZZ.FM's "Benmergui in the Morning."