movie-games and game-movies: towards an aesthetics of transmediality douglas brown and tanya krzywinska

Gilles Deleuze argues that the power of fi lm lies in the close alliance between the cinematic process and perceptual thought; fi lm not only “puts movement in the image, it also puts movement in the mind” (366). In conjunction with the cinematic apparatus, which is as much perceptual as material, audio and visual vocabularies working in the service of fi lm,1 become a potent and fl exible palette capable of generating a vast array of meanings and emotions. Like fi lm, digital games are screen-based, and as such utilize many cinematic features, providing thereby one of the more basic and formal reasons for the increasing numbers of movie-game tie-ins.