After a brief overview of the theoretical frameworks that have emerged for the understanding intermediality in media studies, art theory, philosophy and film theory, this theoretical essay offers arguments for consolidating an “affective turn” of intermedial studies. It presents what such a paradigm shift entails and what it can add to previous scholarship. It emphasizes that we should think of the possibility of such a turn not as a narrow focus on a single idea (on “affect” defined by a particular philosophical strand), but as the opening up of a broader perspective. Based on precedents in theorizing intermediality as an experience of in-betweenness, the essay proposes “affective intermediality” as a key term for an approach that centres on the intermedial experience as it unfolds from the sensable materiality of mediation and examines the way in which intermedial strategies act upon us weaving an affective-emotional tapestry and open up passages between art and life, fantasy and reality, body and mind, in many cases, also becoming effective tools in a critical, ethical engagement with the world. The author identifies the affective performativity of intermediality as the main research objective for this perspective and unravels in the second half of the chapter some of the key forms in which the affective agency of intermedial in-betweenness can be perceived.