Titlebook: Make Believe in Film and Fiction; Visual vs. Verbal St Karl Kroeber Book 2006 Karl Kroeber 2006 corpus.culture.ethics.expectation.experienc

平

假裝是我

富足女人

聯(lián)想

encomiast

好色

Brutal Beginnings: Imagining Murder/Watching Murder,h in ., a Russian admirer introduced fiction’s most celebrated double murderer, Rodion Raskolnikov. Moviemakers have always delighted in murders, and among the most notorious is the killing of Marion Crane in Hitchcock’s .. Naked Marion appears to be slashed in a blur of splashing water, spattering

Ballerina

Moving Sculpture for Moving Eyes,t really narratives. This truth embarrasses me, because some years ago I published criticism of what I called “narrative paintings.” I now realize that paintings by Giotto and Vermeer inspire us to remember or to invent stories, but they do not actually . stories as do movies. Seeing a movie is a di

Demonstrate

,Inside and Outside Somebody Else’s Fantasy, Austen’s novels began as modest commercial successes, continuing popular enough after the break through of cheap publications in the 1830s to be reprinted throughout the nineteenth century (St. Clair, 578–580). Sales increased markedly after World War I, when Austen fans became known as Janeites, a

shrill

Make Believe is Always a Story, Helen is doing today in Venice”—or invokes something not known to exist, highly improbable or impossible—as is implied in “You’re just imagining things.” Imagining in this commonplace sense is the foundation of all make believe, which Gilbert Ryle thought “of a higher order” than ordinary belief (2

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