This triumvirate of terms is more than a vocabulary builder; these terms are part of every day life, and an integral part of film-making, whether intentional or accidental. Without these three concepts working in conjunction, an environment can become disjointed and irrational for the viewer to consider it realistic. Before an analysis of specific examples, let's examine the basic terms in the context in which I will be using them.

Anticipation: a prior action that takes into account or forestalls a later action. (Webster's Ninth New Collegiate Dictionary c.1986). [Perhaps Carly Simon said it best when she said "Anticipation—that's what's makin' me wait. –Ed] Also known as the set-up, anticipation establishes the setting for an event, as well as the context through which all subsequent events will be viewed. The impact of this event can be heightened or reduced depending upon the type of anticipation and the effectiveness of the set-up. The major types of anticipation are words (spoken or written), physical, foreshadowing, and external. By using an obvious set-up, certain specific results will be expected and anticipated by viewers, but often a subtle set-up can create a mood or anxiety that is just as effective in providing a context.

Actualization: the realization of existence in fact or reality (Webster's Ninth New Collegiate Dictionary c.1986). Here's where the set-up delivers the goods. After the anticipation, the actualization can take the form of an obvious result or a reversal of expectation, and can be used not only as a climax for a complete sequence of events (or story), but also as anticipation for subsequent events.

Follow through: to continue a stroke or motion to the end of its arc (Webster's Ninth New Collegiate Dictionary c.1986). In a novel, this element would be called the denouement, and is the wrap-up or reaction to the climactic elements presented in the actualization. If done correctly (especially in animation), the follow through will create a very natural feel for the sequence of events, but if omitted can create a feeling of discomfort.

In strict animation terms, anticipation, actualization and follow through apply only to the drawings. For example, for Jubei the Ninja to slice through an opponent, the anticipation for the attack would be to draw the sword and pull it back into a striking position. The actualization would be the sword strike itself. The follow through would be showing the effects of the attack such as the spurting of blood from the wound. While this is extremely important to animation, I have absolutely no talent for drawing and I will leave the demonstration of this technique up to Scott Frazier or David Ho. Instead, I will broaden the scope a bit to show many types of applications of these principles and how they affect perception and emotion.

Physical Anticipation

Water flowing. This action can be anticipation for a variety of events with a variety of meanings. If the water is smooth and peaceful, it will generate a similar feeling in the viewer, which can be reinforced or ruined by the actualization. For example, pastoral landscapes and slow pans will reinforce the peaceful feeling. However, the peaceful mood would be shattered if a dead body floats past our view. The actualization, seeing the body, is a sharp contrast to the peaceful anticipation, which has a strong impact upon a viewer, and probably acts as the anticipation for further events.
If you are watching RANMA 1/2, the sight or sound of running water creates a comedic tension and anticipation due to the affliction suffered by many of the characters in the series. The actualization in this case could be seeing Ranma and Shampoo transformed into their girl and cat forms respectively. In this specific case, the follow through would most likely take the form of a stricken expression on the cat-phobic Ranma who would then immediately flee from the overly-affectionate Shampoo. All of which naturally sets-up the anticipation for continuing mayhem.
The Three Stooges were masters of anticipation, delivery, and follow through. As soon as Curly upset Moe, the anticipation of retaliation was quickly established usually by a "Wise guy, eh?" by Moe. The verbal anticipation was then quickly followed by a physical anticipation as Moe would set his jaw, pull back his elbow and make a fist. Their comedic talent was such that even with the anticipation of the physical blow, the audience could rely upon the actualization of physical pain, but could never quite depend upon which character would receive the blow. While the context would naturally imply that Moe is about to pummel Curly, the actualization could have many forms such as Curly ducking and Moe pummeling a clueless Larry, Curly taking the blow and reeling in pain, or Moe missing completely and falling down. The uncertainty of the realization creates great anticipation, and the resolution creates the reaction in the audience. Finally, the follow through to the realization reinforces the reaction or leads to a new anticipation and continuing realization of the gag. For example after getting popped in the skull, Curly does a facial take (comical reaction), and then runs around going "Whoop! Whoop! Whoop!" If Curly simply took a blow to the head, the audience has the potential to misunderstand the event and be concerned for his welfare, but with his resulting reaction, there is no doubt that he is uninjured, and the audience can laugh with ease.
As a master of animation, Miyazaki Hayao uses the techniques of anticipation, actualization, and follow through to their fullest. In THE CASTLE OF CAGLIOSTRO, Lupin the Third prepares to fire off a miniature rocket to access a tower separated from the rest of the castle. Lupin carefully judges the distance to the far tower, attaches a length of rope, and carefully adjusts the angle of the rocket (anticipation). Then Lupin reaches into his pocket for a match (more anticipation). However, as he searches for the match, the rocket slips from between his shoes and slides down the steep roof (actualization), Lupin's face reacts comically, and he starts to reach down to retrieve the rocket (follow through).
What makes this scene so great is that this entire sequence of events is to make the viewer anticipate that Lupin will be using the rocket to reach the tower. The emphasis surrounding the use of the rocket, and the seeming resolution of tension puts the viewer in the frame of mind to expect Lupin's successful launch of the rocket. However, as Lupin reaches down to grasp the rocket, the rocket slips further down the roof (more anticipation), and in fact, Lupin attempts to grasp the rocket several times before he himself slips and finds himself running down the roof! The actualization of this sequence is drawn out and separated by several more anticipation cycles as Lupin leaps from rooftop to rooftop before he finally is able to grab the bottom of his destination tower by his fingertips. The follow through to this whole sequence is his brief scramble to climb the side of this tower, but each cycle has its own follow through which doubles as the anticipation for the next cycle. In this case, the juxtaposition of the anticipated event (the rocket launch) with the actual event creates much more comic potential and character revelation than a successful launch would have had.