Cinematic adaptations of videogames are an increasingly common feature of film culture, and the adaptive relationship between these mediums is an increasingly common subject of film and videogame studies. However, our ability to historicize and theorize that relationship is hampered by a failure to fully define the generic character of our object of study. This essay asks, what is a videogame movie? It argues that film scholars (1) have not considered the full range of ways videogames have been represented in film; (2) have not attended fully to the historical, technological, figurative, and social dimensions of videogames; and therefore (3) have limited the set of possible texts that comprise the genre “videogame cinema.” The essay recommends a tropological approach to the problem, defining six tropes that comprise the “videogame movie” as a genre, and applying them to two films, Her and 1917, neither of them a direct adaptation of a videogame, the latter not “about” or referencing videogames in any way, yet both exemplary of a broadened concept of “videogame cinema”.

中文翻译：

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什么是电子游戏电影？

电子游戏的电影改编是电影文化中越来越普遍的特征，而这些媒体之间的自适应关系是电影和电子游戏研究中越来越普遍的主题。但是，由于未能完全定义我们研究对象的一般特征，我们无法对这种关系进行历史化和理论化。本文问，什么是电子游戏电影？它认为电影学者（1）并未考虑电子游戏在电影中的完整呈现方式；（2）没有充分关注视频游戏的历史，技术，形象和社会层面；因此（3）限制了构成“视频游戏电影”类型的可能文本的集合。这篇文章建议用一种方法论的方法来解决这个问题，她和1917年，他们都不是直接改编电子游戏，后者也不以任何方式“约”或引用电子游戏，但均以“电子游戏电影院”的扩大概念为例。