Photograph by Ariel Pomerance
Murray Pomerance is Professor in the Department of Sociology at Ryerson University. He is the author of The Man Who Knew Too Much (BFI, 2017), Moment of Action: Riddles of Cinematic Performance (Rutgers, 2016), Marnie (BFI, 2014), 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).is Ici Commence Johnny Depp appeared from Éditions Capricci in 2010; and Johnny Depp: Betrachtungen zu einem Schauspieler appeared from Reinhard Weber Verlag in 2006. Among other books he has edited The Last Laugh: Strange Humors of Cinema (Wayne State, 2013), 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 George Cukor: Hollywood Master (Edinburgh, 2015), Hollywood's Chosen People: The Jewish Experience in American Cinema (Wayne State, 2012), 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, the Harry Potter films, and The Man Who Knew Too Much (1956); and on Chris Marker's Sans Soleil, Robert Altman's The Long Goodbye, George Marshall's Houdini, Martin Scorsese's Life Lessons, Abel Ferrara's Go-Go Tales, The Man with the X-Ray Eyes, A Stolen Life, Todd Haynes's Safe, Dino De Laurentiis's King Kong, Anthony Minghella's The Talented Mr. Ripley, Gus Van Sant's Psycho and Elephant, Bernardo Bertolucci's The Dreamers, John Farrow's Botany Bay, food in the work of Steven Spielberg, Spielberg's Catch Me If You Can, Michael Mann's Public Enemies, Jean-Luc Godard's Passion, Alain Della Negra and Kaori Kinoshita's The Cat, the Reverend and the Slave, Harold Schuster's Wings of the Morning, the city in film noir, the architecture of screen villainy, the cinematic wedding, Nicholas Ray's Johnny Guitar, and many of the films of Hitchcock including Vertigo, North by Northwest, The Man Who Knew Too Much, The Lodger, Rear Window and The Birds, as well as other topics including Technicolor. He has essays forthcoming on John Schlesinger, Clint Eastwood, Steven Spielberg's fatherhoods, Jerry Lewis, Bernard Herrmann, and John Huston's The Asphalt Jungle.
In August 2009, he appeared on Broadway in conjunction with a performance of The 39 Steps. In August 2013, his visual essay (co-authored with R. Barton Palmer) appeared on the Criterion DVD of John Frankenheimer's Seconds.
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.
From 2005 until 2010, he was film reviewer on JAZZ.FM's "Benmergui in the Morning."