The Film Cheat (PDF)
Screen Artifice and Viewing Pleasure
(Sprache: Englisch)
Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist...
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Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented. This usually calls for a suspension of disbelief in the viewer, but that rests on the assumption that disbelief is problematic for viewership, and that we must find some way to "suspend" or "disconnect" it in order to allow for the entertainment of the fiction in its own terms.
The Film Cheat explores forty-five aspects of the 'cheat,' analyzing classic films such as Singin' in the Rain and Chinatown, to more contemporary films like The Revenant and Baby Driver, with Pomerance engaging his encyclopedic knowledge of film history to point out numerous instances of suspensions of disbeliefs. Whether or not Gene Kelly is actually dancin' in the rain, or if Elliott is really flying on his bicycle carrying E.T., these cheats are what make movie magic.
Elegantly weaving the narrative for one to dip into at random or to read from cover to cover, Pomerance turns things upside down so that the audience actually finds pleasure in the cheat itself, pleasure in the disbelief. To see the elegant fake, the supremely accomplished simulacrum is a pleasure in its own right, indeed one of the fundamental pleasures of cinema.
The Film Cheat explores forty-five aspects of the 'cheat,' analyzing classic films such as Singin' in the Rain and Chinatown, to more contemporary films like The Revenant and Baby Driver, with Pomerance engaging his encyclopedic knowledge of film history to point out numerous instances of suspensions of disbeliefs. Whether or not Gene Kelly is actually dancin' in the rain, or if Elliott is really flying on his bicycle carrying E.T., these cheats are what make movie magic.
Elegantly weaving the narrative for one to dip into at random or to read from cover to cover, Pomerance turns things upside down so that the audience actually finds pleasure in the cheat itself, pleasure in the disbelief. To see the elegant fake, the supremely accomplished simulacrum is a pleasure in its own right, indeed one of the fundamental pleasures of cinema.
Autoren-Porträt von Murray Pomerance
Murray Pomerance is an independent scholar living in Toronto, Canada, and Adjunct Professor in the School of Media and Communication at RMIT University, Melbourne, Australia. He is the author of The Hitchcock Quartet (An Eye for Hitchcock, A Dream of Hitchcock, A Voyage with Hitchcock, and A Silence from Hitchcock); Uncanny Cinema: Agonies of the Viewing Experience (Bloomsbury, 2022); Color It True: Impressions of Cinema (Bloomsbury, 2022); The Film Cheat: Film Artifice and Viewing Pleasure (Bloomsbury, 2020); Virtuoso: Film Performance and the Actor's Magic (Bloomsbury, 2019); Cinema, If You Please: The Memory of Taste, the Taste of Memory (Bloomsbury, 2018), and many other volumes including, with Matthew Solomon, The Biggest Thing in Show Business: Living It Up with Martin & Lewis (2024). Pomerance's fiction has appeared in The Paris Review, New Directions, The Kenyon Review, and elsewhere; he is the author of Grammatical Dreams, A King of Infinite Space, and other books.
Bibliographische Angaben
- Autor: Murray Pomerance
- 2020, 1. Auflage, 384 Seiten, Englisch
- Verlag: Bloomsbury Publishing Inc
- ISBN-10: 1501364960
- ISBN-13: 9781501364969
- Erscheinungsdatum: 15.10.2020
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- Größe: 12 MB
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