We are looking at immediacy. CGI and special effects bring our visual experience closer to reality, resulting in a heightened sense of presence (Bolter & Grusin 2000, 22). We are looking at hypermediacy. It is in this multi-windowed visuality that we see things in more than one spatial and temporal frame simultaneously (Friedberg 2002, 348). And we are looking at both of them at the same time. The hybrid nature of both processes creates an even more hybrid interaction between them, where each is reminiscent of the existence of and desire for the other. Media practices in the digital age have alternated the potentials that a medium can produce, old assumptions are challenged and boundaries begin to erode (Uricchio 2002, 32). Yet even this confusion of reality and fiction, of the old and the new has always been at the heart of our experience with the cinema, the televisions and even the books (Thorburn 2002, 21). Technological innovation brings with it the utopian dream of a future radically transformed and also the risk of it becoming a banal “second nature”; but even when the future becomes history, this imagined utopia can only be – to a degree – forgotten but never completely erased (Gunning 2003, 56). The contestation between the old and the new would always come back to us and influence how we think and talk about points of transition.