Whose life is it anyway? Practice-based research into performed fictional-autobiography and the paradox of fiction

References

1. Allen, Woody. ( 1981), Side Effects, New York:: Ballantine Books;.
   [Google Scholar]
2. Anderson, Joseph. ( 1996), The Reality of Illusion: An Ecological Approach to Film Theory, Carbondale, IL:: Southern Illinois University Press;.
   [Google Scholar]
3. Barthes, Roland. ( 1977), Image-Music-Text (trans. Stephen Heath) , New York:: Noonday;.
   [Google Scholar]
4. Bordwell, David. ( 1985), Narration in the Fiction Film, Madison, WI:: University of Wisconsin Press;.
   [Google Scholar]
5. Bordwell, David. ( 2005;), ‘ Principles of film narration. ’, in T. Wartenburg, and A. Curran. (eds), The Philosophy of Film, Carlton, OR, Malden, MA and Oxford:: Blackwell;, pp. 183–89.
   [Google Scholar]
6. Carroll, Noël. ( 1990), The Philosophy of Horror, or, the Paradoxes of the Heart, London, New York:: Routledge;.
   [Google Scholar]
7. Carroll, Noël. ( 1999;), ‘ Film, emotion and genre. ’, in C. Plantinga, and G. M. Smith. (eds), Passionate Views: Film, Cognition, and Emotion, Baltimore and London:: John Hopkins University Press;, pp. 21–47.
   [Google Scholar]
8. Currie, Greg. ( 1990), The Nature of Fiction, Cambridge, New York and Sydney:: Cambridge University Press;.
   [Google Scholar]
9. El Miskin, Tejani. ( 1993;), ‘ Killing joke. ’, The New Yorker, 24 May, p. 73.
   [Google Scholar]
10. Genette, Gérard. ( 1972), Narrative Discourse: An Essay in Method (trans. J. Lewin) , Oxford:: Blackwell;.
    [Google Scholar]
11. Harris, Sam. ( 2015), Waking Up: Searching For Spirituality without Religion, London:: Black Swan;.
    [Google Scholar]
12. Hegel, Georg Wilhelm Friedrich. ( 1953), Reason in History (trans. Robert S. Hartman) , New York:: Bobbs-Merrill;.
    [Google Scholar]
13. James, William. ( 1884;), ‘ What is an emotion?. ’, Mind, 9, pp. 188–205.
    [Google Scholar]
14. Lovat, Simon. ( 2008;), ‘ In dialogue with the reel: The forms and functions of the cinematic self-reflexive gesture. ’, Ph.D. thesis, Falmer: University of Sussex.
    [Google Scholar]
15. Lovat, Simon. ( 2016), Memoires of a Confused Man, unpublished play text .
    [Google Scholar]
16. Lovat, Simon. ( 2017), Are Strings Attached?, unpublished play text .
    [Google Scholar]
17. Man, Paul De. ( 1979;), ‘ Autobiography as de/facement. ’, MLN Comparative Literature, 94:5, pp. 919–30.
    [Google Scholar]
18. Myrick, Daniel, and Sanchez, Eduardo. ( 1998), The Blair Witch Project, USA:: Haxan Films;.
    [Google Scholar]
19. Plantinga, Carl. ( 1999;), ‘ The scene of empathy and the human face on film. ’, in C. Plantinga, and G. M. Smith. (eds), Passionate Views: Film, Cognition, and Emotion, Baltimore and London:: John Hopkins University Press;, pp. 239–55.
    [Google Scholar]
20. Radford, Colin. ( 1975;), ‘ How can we be moved by the fate of Anna Karenina?. ’, Proceedings of the Aristotolean Society, Supplemental Volume , 49, pp. 67–80.
    [Google Scholar]
21. Renov, M.. (ed.) ( 1993), Theorising Documentary, London, New York:: Routledge;.
    [Google Scholar]
22. Rosenstone, Robert A.. ( 2005), The Man Who Swam into History: The (Mostly) True Story of My Jewish Family, Austin, TX:: University of Texas Press;.
    [Google Scholar]
23. Sangharakshita, Urgyen. ( 2001), A Survey of Buddhism: Its Doctrines and Methods Through the Ages, , 9th ed.., Birmingham:: Windhorse;.
    [Google Scholar]
24. Schreier, Magrit. ( 2004;), ‘ “Please help me; all I want to know is: Is it real or not?”: How recipients view the reality status of The Blair Witch Project. ’, Poetics Today, 25:2, pp. 305–34.
    [Google Scholar]
25. Seife, Ethan De. ( 2007;), ‘ The history of mock documentary. ’, http://www.spinaltapfan.com/articles/seife/seifi9.html. Accessed 25 July 2017.
26. Sinnerbrink, Richard. ( 2011), New Philosophies of Film: Thinking Images, London, New York:: Continuum;.
    [Google Scholar]
27. Smith, Murray. ( 1995), Engaging Characters: Fiction, Emotion and the Cinema, Oxford:: Clarendon Press;.
    [Google Scholar]
28. Walton, Kendall L.. ( 1990), Mimesis as Make-Believe: On the Foundations of the Representational Arts, Cambridge, MA:: Harvard University Press;.
    [Google Scholar]
29. White, Hayden. ( 1987), The Content of the Form: Narrative Discourse and Historical Representation, Baltimore, London:: The John Hopkins University Press;.
    [Google Scholar]
30. Williams, Raymond. ( 1980;), ‘ The veto of the imagination: A theory of autobiography. ’, in J. Olney. (ed.), Autobiography: Essays Theatrical and Critical, Princeton, NJ:: Princeton University Press;, pp. 268–95.
    [Google Scholar]
31. Lovat, S.. ( 2019;), ‘ Whose life is it anyway? Practice-based research into performed fictional-autobiography and the paradox of fiction. ’, Journal of Writing in Creative Practice, 12:1&2, pp. 61–75, doi: 10.1386/jwcp.12.1-2.61_1
    [Google Scholar]