Desktop film, or termed as “computer screen film”, is a film subgenre with all events and actions taking place on a screen of a computer and using the protagonist’s first-person perspective, exemplified by The Den (2013),Open Windows(2014), Unfriended (2014),Unfriended: Dark Web (2018), Profile(2018)and Searching(2018). This paper focuses on the desktop film with the theoretical framework of “Media Ecology”, aiming to investigate how the desktop film evolves and interacts with new media, digital technology, while influencing communication and spectatorship. This paper is mainly composed of three parts. Firstly, the evolution and convergence of cinema and new media. As one of the important mass media, cinema follows the pattern of media evolution and always evolves in the process of interaction and integration with other media. As a sort of “new media film”, desktop film is a production of media evolution, highlighting the characteristics of cross-media and media convergence. Desktop films also witnesses the tendency of media evolution, which improves the capacity of representing the real world and enhances humanized characteristics. Secondly, the dialectics of media and technology represented in desktop films. Desktop films create the cyberspace, which depends on digital media and technology, computers, Internet, social media and so forth, accurately portraying individuals’ living environment characterized by digitization, mediatization and virtualization. Desktop films also reflect the transformation of environment by media and reveal the advantages and disadvantages of the media technology which is regarded as a double-edged sword for human being and society. Thirdly, this paper will analyze how desktop film, as a “new media film”, has an impact on cinematic distribution, projection and communication, while reshaping the spectatorship and audience’s feedback mechanism.Different for the traditional movie-viewing experience in theater, desktop films are more suitable for watching via desktop, laptop, handheld tablet computer, cell phone or other mobile devices.Therefore, when audiences watch the desktop films, they become the active subjects with more autonomy. The daily and realistic perceptions created by desktop films also make the audiences have senses of immersion, quasi-interaction and gamification.Based on the real experience of digitalized life and new media language, the desktop film is interacting with the audiences’ decentralized, fragmented, hyperlinked experiences and Internet thinking, and will further change spectators’ perception and aesthetic regarding cinema.