This article uses Bolter and Grusin's notion of remediation to explore analog media technologies—cinema, photography, cartography, television, and radio—in digital horror videogames. Such moments illustrate what Lister et al. term the “technological imaginary” of both old and new media technological imaginary of both old and new media. Old media technologies contribute a sense of the real perceived as lacking in digital media, yet central to a generically-significant impression of embodiment. Critical theorization of these forms within media studies illuminate their function within digital video game texts; such processes illustrating the cultural, institutional, and aesthetic meanings and mythologies of both analog and digital media, while continuing traditional use of media technologies within discourses of horror and the supernatural.
Barthes, R. (1977). Image music text. London: Fontana Press.
2.
Bazin, A. (1967). What is cinema?Berkeley: University of California Press.
3.
Baudry, J. (1999). Ideological effects of the basic cinematographic apparatus. In L. Braudy, J., & Cohen, M. (Eds.), Film theory and criticism (pp. 345-355). Oxford, UK: Oxford University Press.
4.
Benjamin, W. (1992). Illuminations. London: Fontana Press.
5.
Birlew, D. (2004). Silent Hill 3 official strategy guide. Indianapolis, IN: Brady.
6.
Bolter, J.D., & Grusin, R. (2001). Understanding new media. Cambridge : MIT Press.
7.
Buckland, W. (1999). Between science fact and science fiction: Spielberg's digital dinosaurs, possible worlds, and the new aesthetic realism. Screen, 40(2), 177-192.
8.
Carr, D. (2006). Space, navigation and affect. In D. Carr, D. Buckingham , A. Burn, & G. Schott (Eds.), Computer games: Text, narrative and play (pp. 59-71). Cambridge, UK: Polity.
9.
Cartwright, L. (1998). Science and the cinema. In N. Mirzoeff (Ed.), The visual culture reader (pp. 199-213). London: Routledge.
10.
Creed, B. (2000). The cyberstar: Digital pleasure and the end of the unconscious. Screen, 41(1), 79-86.
11.
Cubitt, S. (1998). Digital aesthetics. London: Sage .
12.
Cubitt, S. (2000). The distinctiveness of digital criticism. Screen, 41(1), 86-92.
13.
Darley, A. (2000). Visual digital culture: Surface play and spectacle in new media genres. London: Routledge .
14.
Dovey, J., & Kennedy, H. (2006). Game cultures: Computer games as new media. Oxfordshire, UK: Open University Press.
15.
Dyer, R. (1997). White. London: Routledge.
16.
Everett, A. (2003). Digitextuality and click theory: theses on convergence media in the digital age. In A. Everett & J. T. Caldwell (Eds.), New media: Theories and practices of digitextuality (pp. 3-28). London : Routledge AFI Film Readers.
17.
Everett, A., & Caldwell J. T. (Eds.). (2003). New media: Theories and practices of digitextuality. London: Routledge AFI Film Readers.
18.
Fiske, J. (1996). Media matters: Everyday culture and political change. Minneapolis: University of Minnesota Press.
19.
Fox, M. (2006). The video games guide: From Pong to Playstation 3, over forty years of computer and video games. Oxford , UK: Boxtree.
20.
Freud, S. (1990). The uncanny. In The Penguin Freud Library: Volume I4. Art and literature (pp. 339-376). London: Penguin Books.
21.
Fuller, M., & Jenkins, H. (1995). Nintendo〉 and new world travel writing: A dialogue. In S. G. Jones (Ed.), Cybersociety: Computer mediated communication and community (pp. 57-72). London : Sage.
22.
Gunning, T. (1992). Weaving a narrative: Style and economic background in Griffith's biograph films. In T. Elsaesser & A. Barker (Eds.), Early cinema: Space frame narrative (pp. 336-347). London: BFI.
23.
Hutchings, P. (1993). Masculinity and the horror film. In P. Kirkham & J. Thumim (Eds.), You Tarzan: Masculinity, movies and men (pp. 84-94). London: Lawrence & Wishart.
24.
Jenkins, H. (2004). Game design as narrative architecture. In N. Wardrip-Fruin & P. Harrigan, (Eds.), First person: New media as story, performance, and game (pp. 118-130). Cambridge: MIT Press.
25.
Kelman, N. (2004). Yes, but is it a game? In S. Compton (Ed.), Gamers: Writers, artists & programmers on the pleasures of pixels (pp. 225-238). New York: Soft Skull Press.
Krzywinska, T. (2002). Hands on horror. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/ videogames/interfaces (pp. 206-223). London: Wallflower Press.
28.
Lister, M., Dovey, J., Giddings, S., Grant, I., & Kelly, K. (2003). New media: A critical introduction. London: Routledge.
29.
Mackay, H. (1997). Consuming communication technologies at home. In H. Mackay (Ed.), Consumption and everyday life. London: Sage .
30.
Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6-18.
31.
Perron, B. (2006). Coming to play at frightening yourself: Welcome to the world of horror video games. Retrieved May 14, 2007, from http://www.aestheticsofplay.org/papers/perron2.htm
32.
Piggyback Interactive Limited . (2001). Silent Hill 2: The official strategy guide. London: Author.
33.
Poole, S. (2000). Trigger happy: the inner life of videogames. BurrySt Edmunds, UK: Fourth Estate.
34.
Sconce, J. (1993). Spectacles of death: Identification, reflexivity, and contemporary horror. In J. Collins, H. Radner, & A. Preacher Collins (Eds.), Film theory goes to the movies (pp. 103-119). London: Routledge.
35.
Sconce, J. (2005). Haunted media: Electronic presence from telegraphy to television. Durham, NC: Duke University Press.
36.
Sobchack, V. (2005). The scene of the screen: Envisioning cinematic and electronic "presence." In A. Utterson (Ed.), Technology and culture, the film reader (pp. 127-142). London: Routledge.
37.
Sontag, S. (1979). On photography. London: Penguin Books.
38.
Tacchi, Jo. (2003). Radio texture: Between self and others. In D. Miller (Ed.), Material cultures: Why some things matter (pp. 25-45). London: Routledge.
39.
Warner, M. (2006). Phantasmagoria: Spirit visions, metaphors, and media into the twenty-first century. Oxford, UK: Oxford University Press.
40.
Wicke, J. (2000). Vampiric typewriting: Dracula and its media. In K. Gelder (Ed.), The horror reader (pp. 172-183). London: Routledge.
41.
Williams, L. (1997). Film bodies: Gender, genre, and excess. In B. K. Grant (Ed.), Film genres reader II (pp. 140-158). Austin: University of Texas Press.
42.
Wollen, P. (1986). Godard and counter-cinema. In P. Rosen (Ed.), Narrative, apparatus, ideology (pp. 120-129). New York: Columbia University Press.
