Murray Pomerance's latest book explores an encyclopedic range of films
and television shows to demonstrate the difficulty of conveying the
experience of viewing cinema through words and the medium of text. From
On the Waterfront to Marriage Story, Uncanny Cinema illuminates
that words and writing are in perilous waters when applied to cinema,
similar to ungestured talk. The book begins with this problem using
Julian Jaynes's thoughts on vocality and imagination before delving into
three exploratory 'movements' arranged to alternately challenge,
inspire, and confound the reader to question if we know what we think we
know or even see what we think we see. The viewer is faced with
disturbances, ruptures, and surprises that occur during the viewing
experience, which Pomerance analyzes to stretch the sense of what we do
and do not (or, possibly, cannot) know, particularly as we think, talk,
and write about cinema