Refuting Noël Carroll's statement that the semiotic theory of illusion overestimates the power of representations, Wheatley follows the arguments of Baudry, Richard Allen's projective
illusionism and Gregory Currie's impersonal imagining to argue that,
while watching a film, the spectator is unaware of their actual relationship between the cinematic apparatus and their position as a viewer unless the film forces them to be aware of it.
While Held moves
illusionism inward, Marcaccio builds outward with literal collage, encrustations, and paint, occasionally trapping pockets of illusion.