please correct the grammar mistake below：Exploring the concept of Videogame FilmWith the trend of transmedia and the convergence of movies and games a new film aesthetic which presents the games featu

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Exploring the concept of "Videogame Film"

With the trend of transmedia and the convergence of movies and games, a new film aesthetic that presents the features of the game has emerged. Will Brooker distinguishes two forms of film-game integration in his article: The “Videogame” Film and the “Cinematic” Game. The latter experienced a trajectory from slavish emulation of the cinematic towards the evolution of visual storytelling techniques, which also establish a unique mode including “interactive movies”; while the former is the object of study in this paper. The author points out that unlike direct adaptations of video games, “videogame-style film” or “Videogame Film” can be established from references to diverse movies that incorporate game conventions while not adapting a specific game. Before studying the narrative features of Videogame Film, we must understand the way of combining films and games. According to the famous film critic and chief editor of “Cahiers du Cinéma” Jean-Michel Frodon, there are four forms of combination of Video Games and films: "Commentary" refers to the game recording, just like watching a game live or recording on a website; "Adaptation" refers to the game being adapted into a film, which is also an important way of cross-media narratives. Movies such as Lara Croft: Tomb Raider (2001), Silent Hill (2006), and recent films like The Super Mario Bros. Movie (2023) and Dungeons & Dragons: Honor Among Thieves (2023) share the same world views, main characters, and scenes with the original games, but they have little in common with the storyline, aesthetics, and conventions of the source material. A film adapted from a game IP can be linked to cross-media narrative or cross-media adaptation, which mainly relies on the IP’s economic effect and the sentiment of original players; "Reference" refers to the film's interception and insertion of the game fragment. For instance, The Three-Body Problem inserts a game into the narrative, and the main character needs to enter the game world to find the truth and save the real world; "Combination" refers to the remediation of the game and the film. Obviously, the last one is the most important form because the game is formally integrated into the film, creating a new narrative structure—The “Videogame” Film. In Videogame Film, the relationship between games and movies is not simply inserted or juxtaposed but nested or intertwined together. Adopting game logic to construct the film narrative is an innovative narrative method for Videogame Film. The basic game elements such as game players, game rules, and game levels exist in the film in a metaphorical way. Theoretical research on the concept of "Videogame Film" has lagged far behind practical creation, and the two have been separated. The world's first "Videogame Film" is recognized as "Tron" (1982), such as Pong and Snake. The introduction of game elements in the film was only a commercial demand of Atari Games, but the use of special effects technology, the concept of "cyberspace," and the use of "Videogame Film" were all very forward-looking. The concept of "Videogame Film" was first introduced as an academic concept in 2006 when Alexander Galloway formally created the term "Videogame Film" in his book Gaming: Essays on Algorithmic Culture (2006). In his book, Alexander Galloway coined the term "Videogame Film" to refer to the phenomenon of integrating game forms into the formal grammar of cinema. We believe that "Videogame Film" should be analyzed in three aspects: the operation process outside the game, the operation mechanism inside the game, and the underlying cultural connotation of the game. In this paper, we summarize the characteristics of "Videogame Film" into five aspects: Game avatars, Game Rules, Game Visualization, Gamified Space-Time, and Postmodernity. (1) Game avatars “Avatar identification" and "kinaesthetic empathy" are two concepts often mentioned in game studies. "Avatar" is the virtual identity of a gamer in cyberspace, which is characterized by "prosthetic." According to the degree of "gamification" in the film, "game avatars" can be divided into "explicit incarnation" and "implicit incarnation." The "explicit incarnation" continues from 1982's Electronic World War, which directly shows the relationship between players and avatars in the world of video games, such as The 13th Floor (1999), Ready Player One (2018), etc., while "implicit avatars" incarnations of dreams and imagination such as Mulholland Drive (2001), Lost Highway (1997), etc. (2) Game Rules As Lev Manovich refers in his book, "Often the narrative shell of a game masks a simple algorithm well-familiar to the player: kill all the enemies on the current level, while collecting all the treasures it contains; go to the next level and so on until you reach the last level. Other games have different algorithms." The rules of the game, such as game missions, game obstacles, and breakthrough mechanisms, are similar to the hero's journey of overcoming obstacles to achieve the goal in Hollywood narratives, and the narrative shell of the game fits with its inherent game rules, which also provide a reference for movie narratives. (3) Game Visualization Game visualization includes two aspects: camera perspective and visual effects. The "subjective camera" and "following camera" in movies correspond to the first-person shooter (FPS) and third-person shooter (TPS) in videogames. For example, Hardcore Henry (2016) mimics the first-person shooter perspective, while the following camera in Elephant (2003) mimics the third-person shooter perspective. On the other hand, game engines and visual effects technology have reconstructed the production process of the film industry. (4) Gamified Space-Time Gamified space-time consists of two levels: firstly, gamified time means that players die, restart, and pass under the game's algorithm, forming a "loop-structured" narrative. Early researchers associated time-loop narrative patterns such as Run Lola Run (1998) and Groundhog's Day (1993) with game narratives. Secondly, Gamified space means multiple universes, where the virtual and real worlds interact with each other and even form multiple parallel universes. In recent years, the parallel universes presented in films such as Everything Everywhere All at Once (2022) and Spider-Man: Across the Spider-Verse (2023) have borrowed from the virtual space in games. (5) Postmodernity As Will Brooker says, "importing videogame conventions suggests a fast-and-loose, cut-and-paste resistance to traditional narrative rules, with overtones of rebellious youth." It is a "teenage rebellion" and traced to "the influence of postmodern resistance to master narratives." "Videogame films" present a distinct postmodernity in several aspects such as the humor and playfulness of game culture, the non-linearity of game time, and the multiplicity of game space. In conclusion, as the study of the concept of "Videogame Film" moves from the vague to the concrete, from the superficial to the in-depth, and from the macro to the micro, more films with "no-game-elements" have been included in the concept of "Videogame Film." The extension of the boundaries of the concept of "Videogame Film" has also triggered controversy among scholars over its definition and scope, which needs to be studied in the future