[1]Moulthrop, S.(2004). From work to play: Molecular culture in the time of deadly games. In Crumpton, M. & Murray, J. H.(eds.).First person: New media as story, performance, and game. Mit Press, 56-72.
[2]Jesper, J. Games Telling stories?-A brief note on games and narratives.Retrieved June 14, 2020, from http://www.gamestudies.org/0101/juul-gts/
[3][美]道格拉斯·布朗,谭雅·克里兹温斯卡.电影—游戏与游戏—电影:走向一种跨媒介的美学[J]. 范倍译. 电影艺术,2011(3).
[4]Kelleter, F.(2017). Five ways of looking at popular seriality.In Kelleter, F.(ed.). Media of serial narrative. Columbus: The Ohio State University Press, 15.
[5]Denson, S. & Jahn-Sudmann, A.(2013). Digital seriality: On the serial aesthetics and practice of digital games.Eludamos. Journal for Computer Game Culture,7(1):13.
[6]陈亦水.降维之域:“影像3.0时代”下的游戏电影改编[J].电影艺术,2019(1):83.
[7]Kelleter, F. & Loock, K.(2017). Hollywood remaking as second-order serialization.In Kelleter, F.(ed.). Media of serial narrative. Columbus: The Ohio State University Press, 130.
[8]李诗语.文化同构与跨代重启:跨媒介故事世界的可能边界[J].当代电影,2018(8).
[9]李雨谏.电子游戏改编电影的跨代重启研究——以《古墓丽影》系列电影为例[J].电影评介,2019(18).
[10]李诗语.从跨文本改编到跨媒介叙事:互文性视角下的故事世界建构[J].北京电影学院学报,2016(6).
[11][美]亨利·詹金斯. 融合文化:新媒体和旧媒体的冲突地带[M].杜永明译. 北京:商务印书馆,2012:200.
[12]Laura, B. Netflix's Biggest Competition? Basically Everything Besides TV, Says Netflix. Retrieved June 14, 2020, from https://www.vanityfair.com/hollywood/2019/01/netflix-competition-disney-hulu-fortnite
[1]沈维琼.隐喻的“文本”:电影中的美食[J].未来传播(浙江传媒学院学报),2013,(02):75.
[2]王旭锋.电影中反面角色的剧作功能…[J].未来传播(浙江传媒学院学报),2015,(04):85.
Wang Xufeng.On the Dramatic Function of Antagonist in Film[J].FUTURE COMMUNICATION,2015,(04):85.
[3]钟静,李天珍.文本盗猎:主体视域下青年亚文化生成动因的游戏性转向[J].未来传播(浙江传媒学院学报),2019,(03):34.
Zhongjing,Litianzhen.Textual Poaching: The Game-oriented Turning of the Motivation of Youth Subculture from subject viewpoint[J].FUTURE COMMUNICATION,2019,(04):34.
[4]胡 璇,周陈成.新世纪国产电影与诗歌的互文性对话[J].未来传播(浙江传媒学院学报),2020,(06):63.