1972
DOI: 10.1037/h0033286
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Role of fantasy in the Poetzl (emergence) phenomenon.

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1976
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Cited by 40 publications
(2 citation statements)
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“…In free recall, the subjects produce as many response as they wish. This forcedrecall procedure was the major technique by which Erdelyi (1970Erdelyi ( , 1972 demonstrated that the Poetzl effect and its derivatives were actually response-bias effects.…”
mentioning
confidence: 99%
“…In free recall, the subjects produce as many response as they wish. This forcedrecall procedure was the major technique by which Erdelyi (1970Erdelyi ( , 1972 demonstrated that the Poetzl effect and its derivatives were actually response-bias effects.…”
mentioning
confidence: 99%
“…The ambiguity of the narrative and the nearly subliminal clip of the presented images make them more affectively powerful and cause us to react viscerally, generating implicit memories determined primarily by our affective stance; even as we are not fully conscious of what we have seen, the images connect with other similarly valenced but more personal experiences of our own, much in the way Poetzl’s subliminally presented tachistoscopic imagery showed up in his subject’s subsequent dreams (Erdelyi, 1972; Fisher, 1988). Thus, each member of the film audience creates its own film, melding these partly seen and only partly explained images with our own memories, connecting Stina’s images with our first love, undressing while hiding from our children, the loss of a sibling, a day in the country with our parents.…”
Section: Eros Metaphor and The Audiencementioning
confidence: 99%