Willing Suspension of Disbelief: Poetic Faith in Film is a study of the way we watch film. Anthony Ferri explores the way expectations influence what they see, feel, and experience. Using Coleridge's term "willing suspension of disbelief" as a starting point, Ferri sets forth a fascinating study of the psychology of watching film. While film scholars and professionals have alluded to Coleridge's term in a parenthetical or tertiary manner, this volume makes a definitive account for the concept and provides a contemporary analysis of the film viewing process from a variety of critical and empirical perspectives.Willing Suspension of Disbelief is valuable for film scholars and students of film.

"A guide to acting theory written specifically for animators"--Provided by publisher.

A comic tale of the tangled fortunes of two theatrical families, the Hazards and the Chances. It contains as many sets of twins and mistaken identities as any Shakespeare comedy, and celebrates the magic of over a century of show business.

Reading the Written Image is a study of the imagination as it is prompted by the verbal cues of literature. Since every literary image is also a mental image, a representation of an absent entity, Collins contends that imagination is a poiesis, a making-up, an act of play for both author and reader. The "willing suspension of disbelief," which Coleridge said "constitutes poetic faith," therefore empowers and directs the reader to construct an imagined world in which particular hypotheses are proposed and demonstrated. Although the imagination as a central concept in poetics emerges into critical debate only in the eighteenth century, it has been a crucial issue for over two millennia in religious, philosophical, and political discourse. The two recognized alternative methodologies in the study of literature, the poetic and the hermeneutic, are opposed on the issue of the written image: poets and readers feel free to imagine, while hermeneuts feel obliged to specify the meanings of images and, failing that, to minimize the importance of imagery. Recognizing this problem, Collins proposes that reading written texts be regarded as a performance, a unique kind of play that transposes what had once been an oral-dramatic situation onto an inner, imaginary stage. He applies models drawn from the psychology of play to support his theory that reader response is essentially a poietic response to a rule-governed set of ludic cues.

From the bestselling author of The Frozen River comes an enthralling historical mystery that unravels the extraordinary twists and turns in Anna Anderson’s fifty-year battle to be recognised as Anastasia Romanov. Is she the Russian grand duchess or the thief of another woman’s legacy? Countless others have rendered their verdict. Now it is your turn. Russia, 1918: Under direct orders from Vladimir Lenin, Bolshevik secret police herd Anastasia Romanov, along with the entire imperial family, into a damp basement in Siberia, where they face a merciless firing squad. None survive. At least that is what the executioners have always claimed. Germany, 1920: A young woman bearing an uncanny resemblance to Anastasia Romanov is pulled shivering and senseless from a canal. Refusing to explain her presence in the freezing water or even acknowledge her rescuers, Anna Anderson is taken to the hospital where an examination reveals that her body is riddled with countless horrific scars. When she finally does speak, this frightened, mysterious young woman claims to be the Russian grand duchess. As rumours begin to circulate that the youngest Romanov daughter survived the massacre, old enemies and new threats awaken. I Was Anastasia unravels the thrilling mystery around Anna Anderson in a tale that is every bit as moving and momentous as it is harrowing and twisted.