Gaming, Mimicry, and Art Cinema: Between Un chien andalou and eXistenZ
This chapter claims that cinema, while not as interactive a medium as video games, still provides a valuable example for theorizing interactivity as embodied stimulation—an example that devises more specific kinds of interactivity that associates new and old media. It analyzes eXistenZ (1999), a film incorporating questions of cinema as digital gaming in explaining how cinema displays the potential for embodied collaboration between artist and audience. The surrealist commitment to games involving embodiment is also present in the film Un chien andalou (1929), with its depictions of assault on spectator vision; and in the writings of Roger Caillois, whose research of mimicry suggests how games can combine surrealist theory and practice.
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