Everyone can see the hand. Not just the host
Morrison, Conway and Chein to a certain extent
GA Radvansky has explored recency and primacy for longer narrative content, and in the context of memory for explicit content and underlying situations. The recency and primary effects are not as strong experienced for narrative content that has important implications for the plot
Kendeou & O’Brein have a model of how people detect and resolve information that is contradictory in a texts.
I don’t think this movie would have had the same impact today, because I think we are most sensitive to schema that afford gender identity as a construct.
Leavitt & Christenfeld: Story Spoilers Don’t Spoil Stories
The book is excellent — highly recommended!
Seconding Masha! I’d also recommend, for teaching, Tobin’s article “Cognitive Bias and the Poetics of Surprise,” which distills many of the key ideas in a very condensed form.
(Should I attach it here?)
David Fincher: ‘[w]hat people want from movies is to be able to say, I knew it and it’s not my fault’
Please attach Andrea! thx
Lucía Cores Sarría
but isn't it also annoying when everything is predictable? where does pleasure end and boredom start?
There’s good material on the paradox of suspense which is somewhat similar,
Aaron Smuts for ex