Suspension of disbelief - wikipedia Suspension of disbelief This article has multiple issues. Please help improve it or discuss these issues on the talk page. ( Learn how and when to remove these template messages ) This article is written like a personal reflection or opinion essay that states a Wikipedia editor 's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. ( June 2013 ) This article needs attention from an expert in Thinking. Please add a reason or a talk parameter to this template to explain the issue with the article. ( ( Wikipedia : WikiProject Thinking WikiProject Thinking ) ) may be able to help recruit an expert. ( June 2016 ) The term suspension of disbelief or willing suspension of disbelief has been defined as a willingness to suspend one 's critical faculties and believe something surreal ; sacrifice of realism and logic for the sake of enjoyment. The term was coined in 1817 by the poet and aesthetic philosopher Samuel Taylor Coleridge, who suggested that if a writer could infuse a `` human interest and a semblance of truth '' into a fantastic tale, the reader would suspend judgement concerning the implausibility of the narrative. Suspension of disbelief often applies to fictional works of the action, comedy, fantasy, and horror genres. Cognitive estrangement in fiction involves using a person 's ignorance to promote suspension of disbelief. The phrase `` suspension of disbelief '' came to be used more loosely in the later 20th century, often used to imply that the burden was on the reader, rather than the writer, to achieve it. This might be used to refer to the willingness of the audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises. These premises may also lend to the engagement of the mind and perhaps proposition of thoughts, ideas, art and theories. Suspension of disbelief is often an essential element for a magic act or a circus sideshow act. For example, an audience is not expected to actually believe that a woman is cut in half or transforms into a gorilla in order to enjoy the performance. According to the theory, suspension of disbelief is an essential ingredient for any kind of storytelling. With any film, the viewer has to ignore the reality that they are viewing a staged performance and temporarily accept it as their reality in order to be entertained. Black - and - white films provide an obvious early example that audiences are willing to suspend disbelief, no matter how unplausible the images appear, for the sake of entertainment. With the exception of totally color blind people ( achromats ), no person viewing these films sees the real world without color, but some are still willing to suspend disbelief and accept the images in order to be entertained. Suspension of disbelief is also supposed to be essential for the enjoyment of many films and television shows involving complex stunts, special effects, and seemingly unrealistic plots and characterizations. Contents 1 Coleridge 's original formulation 2 Examples in literature 3 Psychology 4 Criticisms 5 See also 6 References 7 External links Coleridge 's original formulation Coleridge coined the phrase in his Biographia Literaria, published in 1817, in the context of the creation and reading of poetry. Chapter XIV describes the preparations with Wordsworth for their revolutionary collaboration Lyrical Ballads ( first edition 1798 ), for which Coleridge had contributed the more romantic, gothic pieces including The Rime of the Ancient Mariner. Poetry and fiction involving the supernatural had gone out of fashion to a large extent in the 18th century, in part due to the declining belief in witches and other supernatural agents among the educated classes, who embraced the rational approach to the world offered by the new science. Alexander Pope, notably, felt the need to explain and justify his use of elemental spirits in The Rape of the Lock, one of the few English poems of the century that invoked the supernatural. Coleridge wished to revive the use of fantastic elements in poetry. The concept of `` willing suspension of disbelief '' explained how a modern, enlightened audience might continue to enjoy such types of story. Coleridge recalled : ``... It was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth on the other hand was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind 's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us... '' The notion of such an action by an audience was however recognized in antiquity, as seen particularly in the Roman theoretical concerns of Horace, who also lived in an age of increasing skepticism about the supernatural, in his Ars Poetica. Examples in literature See also : Dramatic convention Suspension of disbelief is sometimes said to be an essential component of live theater, where it was recognized by Shakespeare, who refers to it in the Prologue to Henry V : `` (... ) make imaginary puissance (... ) ' tis your thoughts that now must deck our kings (... ) turning the accomplishment of many years into an hourglass. '' Psychology Psychological critic Norman Holland points to a neuroscientific explanation. When we hear or watch any narrative, our brains go wholly into perceiving mode, turning off the systems for acting or planning to act, and with them go our systems for assessing reality. We have, in Coleridge 's second, more accurate phrase, `` poetic faith ''. That 's why humans have such trouble recognizing lies : they first believe, then have to make a conscious effort to disbelieve. Only when we stop perceiving to think about what we have seen or heard, only then do we assess its truth - value. If we are really `` into '' the fiction -- `` transported '', in the psychologists ' term -- we are, as Immanuel Kant pointed out long ago, `` disinterested ''. We respond aesthetically, without purpose. We do n't judge the truth of what we 're perceiving, even though if we stop being transported and think about it, we know quite well it 's a fiction. Suspension of disbelief has also been used within a mental health context by Frank DeFulgentis in his book Flux. It is an attempt to describe the phenomenon of forgetting irrational thoughts associated with cases of OCD. In the book, the author suggests ' suspending disbelief ' as opposed to forcing ourselves to forget ; similar to how one would put a virus in quarantine. We can thereby allow ourselves to be absorbed in the activities around us until these irrationalities vanish on their own accord. Criticisms Aesthetic philosophers generally reject claims that suspension of disbelief accurately characterizes the relationship between people and `` fictions. '' Kendall Walton notes that, if viewers were to truly suspend disbelief at a horror movie and accept its images as absolute fact, they would have a true - to - life set of reactions. For instance, audience members would cry out, `` Look behind you ! '' to an endangered on - screen character or call the police when they witnessed an on - screen murder. However, many of these criticisms simply fail to notice that Coleridge 's original statement came in a restrictive clause. The formulation ``... that willing suspension of disbelief for the moment which constitutes poetic faith, '' of necessity implies that there are different sorts of suspension of disbelief and specifies that poetic faith is one instance of a larger class. One need not choose to believe that a character in a horror film is a real person in order, for example, to choose to believe that the character is looking at the building seen in the following reverse - shot. Not all authors believe that suspension of the disbelief adequately characterizes the audience 's relationship to imaginative works of art. J.R.R. Tolkien challenges this concept in his essay `` On Fairy - Stories '', choosing instead the paradigm of secondary belief based on inner consistency of reality. Tolkien says that, in order for the narrative to work, the reader must believe that what he reads is true within the secondary reality of the fictional world. By focusing on creating an internally consistent fictional world, the author makes secondary belief possible. Tolkien argues that suspension of disbelief is only necessary when the work has failed to create secondary belief. From that point the spell is broken, and the reader ceases to be immersed in the story and must make a conscious effort to suspend disbelief or else give up on it entirely. See also 555 ( telephone number ) Aestheticization of violence Compartmentalization ( psychology ) Deus ex machina Dramatic convention Fourth wall Paradox of fiction Soap opera effect Suspension of judgment The Tommy Westphall Universe Hypothesis Verisimilitude ( literature ) References This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( December 2007 ) Jump up ^ `` the definition of suspension of disbelief ''. dictionary.com. Jump up ^ Welkos, Robert W. ( 15 April 1993 ). `` From ' King Kong ' to ' Indecent Proposal, ' audiences have been asked to buy a premise that can make -- or break -- a film ''. The Los Angeles Times. Retrieved 2010 - 10 - 24. Jump up ^ Botos, Tim ( 21 August 2008 ). `` ' Gorilla Girl ' sideshow act hangs on despite changing times ''. GateHouse News Service ; Patriot Ledger. Retrieved 15 October 2012. Jump up ^ Safire, William. On Language ; Suspension of Disbelief. New York Times. 7 October 2007. Jump up ^ Coleridge, Biographia Literaria, 1817, Chapter XIV Jump up ^ Holland, Norman ( 2008 ). `` Spiderman ? Sure ! The Neuroscience of Disbelief ''. Interdisciplinary Science Reviews. 33 ( 4 ) : 312 -- 320. Retrieved 28 April 2014. Jump up ^ Holland, Norman. `` Literature and the Brain ''. Literatureandthebrain.com. PsyArt. Retrieved 28 April 2014. Jump up ^ `` Fearing Fictions '', Kendall L. Walton, JSTOR ( The Journal of Philosophy, Vol. 75, No. 1 ( 01 - 1978 ), pp. 5 -- 27 ). Retrieved 3 January 2007. External links Coleridge 's Biographia Literaria, Chapter XIV, containing the term Narrative Character Antagonist Antihero Archenemy Character arc Characterization Deuteragonist False protagonist Focal character Foil Protagonist Stock character Supporting character Tritagonist Narrator Tragic hero Plot Action Backstory Cliché Climax Cliffhanger Conflict Deus ex machina Dialogue Dramatic structure Exposition Eucatastrophe Foreshadowing Flashback Flashforward Frame story In medias res Pace Plot device Plot twist Poetic justice Reveal Self - fulfilling prophecy Subplot Trope Kishōtenketsu Setting Backstory Utopia Dystopia Alternate history Fictional location city country universe Theme Leitmotif Metaphor Moral Motif Irony Style Allegory Bathos Diction Figure of speech Imagery Narrative techniques Narration Stylistic device Suspension of disbelief Symbolism Tone Mode Mood Structure Linear narrative Nonlinear narrative films television series Types of fiction with multiple endings Form Epic Fable Fabliau Fairy tale Folktale Flash fiction Legend Novella Novel Parable Play Poem Screenplay Short story Genre Action fiction Adventure Comic Crime Docufiction Epistolary Erotic Fiction Fantasy Gothic Historical Horror Magic realism Mystery Nautical Paranoid Philosophical Picaresque Political Psychological Romance Saga Satire Science Speculative Superhero Thriller Urban Western List of writing genres Narration First - person Multiple narrators Stream of consciousness Stream of unconsciousness Unreliable Tense Past Present Future Related Audience Author Creative nonfiction Fiction writing Literary theory Literary science Narratology Monomyth Rhetoric Screenwriting Storytelling Tellability Literature portal Retrieved from `` https://en.wikipedia.org/w/index.php?title=Suspension_of_disbelief&oldid=806001763 '' Categories : Fiction Plot ( narrative ) Narratology 1817 introductions Words coined in the 1810s Hidden categories : Use dmy dates from May 2013 Wikipedia articles needing style editing from June 2013 All articles needing style editing Articles needing expert attention with no reason or talk parameter Articles needing expert attention from June 2016 All articles needing expert attention Articles with multiple maintenance issues All articles with unsourced statements Articles with unsourced statements from February 2016 Articles needing additional references from December 2007 All articles needing additional references Talk Contents About Wikipedia Deutsch Español Esperanto فارسی Français Galego 한국어 Italiano עברית Nederlands Português Русский Simple English Edit links This page was last edited on 19 October 2017, at 01 : 00. 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Question: who coined the term willing suspension of disbelief
Answer: poet and aesthetic philosopher Samuel Taylor Coleridge