The corona crisis has accelerated the use of digital technologies and the subsequent transformations of many areas of society. In this article, I will focus on film and film language. My thesis is that adopting the formal and narrative elements of video games has become an effective strategy with which film adapts to the new viewing conditions that are fundamentally different from watching a film in a movie theatre. In the first, theoretical part, I will introduce this thesis by comparing cinema and video games as two different dispositives and present in more detail my interpretation of the notion of dispositive introduced by Jean-Louis Baudry. In the second part, I will analyze the films 1917 (2019), Parasite (Gisaengchung, 2019) and Uncut Gems (2019) and their application of video game approaches, while showing that relying on video games allows filmmakers to better address the experience of modern viewers and critically respond to the problems of the modern world.

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