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Comics

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Perron, Bernard. [To be published in 2017]. "Drawing (to) Fear and Horror: Into the Frame of Clive Barker’s The Midnight Meat Train and Dread Comic and Film Adaptations". In Sorcha Ní Fhlainn (ed.), Clive Barker: the Dark Imaginer. Manchester : Manchester University Press.

Wandering the Panels

Perron, Bernard. 2016. "Wandering the Panels, Walking Through Media: Zombies, Comic Books and the Post-apocalyptic World". In Jan-Noël Thon and Lukas R.A. Wilde (ed.), Journal of Graphic Novels and Comics: Mediality and Materiality of Contemporary Comics, Vol. 7, No 3, p. 306-318. [En ligne].

Z pour Zombies

Perron, Bernard, Samuel Archibald and Antonio Domingez Leiva. 2015. "Les traits et tracés des zombies bédéiques". In Bernard Perron, Samuel Archibald and Antonio Dominguez Leiva (eds.), Z pour Zombies, p. 167-188. Montreal : Presses de l’Université de Montréal.

Cinema e Fumetto/Cinema and Comics

Perron, Bernard, and Pierre Chemartin. 2009. "To Switch back (and Forth): Early Cases of Alternation in Comics and Cinema". In L. Quaresima, L.S. Sangalli and F. Zecca (eds.), Cinema e Fumetto/Cinema and Comics, p. 115-134. Udine : Forum.

Cinema e Fumetto/Cinema and Comics

Perron, Bernard. 2009. "Entre bande dessinée, cinéma et fiction interactive : l’écran divisé du BDVD". In L. Quaresima, L.S. Sangalli and F. Zecca (eds.), Cinema e Fumetto/Cinema and Comics, p. 609-626. Udine : Forum.

Cinéma & Cie

Perron, Bernard, and Pierre Chemartin. 2007. "De la vignette à la vue et vice-versa : l’alternance avant le montage alterné". Cinéma & Cie., No 10, (Spring), p. 111-132.


CinemaHaut de la page

Séries cultes et culte de la série chez les jeunes

Picard, Martin, and Jérémie Pelletier-Gagnon. 2014. "Remise en cause des modèles et quête de soi chez l'adolescent japonais dans Neon Genesis Evangelion". In Jocelyn Lachance, Hugues Paris and Sébastien Dupont (eds.), Séries cultes et culte de la série chez les jeunes. Penser l’adolescence avec les séries télévisées p. 203-226. Québec : Les Presses de l’Université Laval.

Cinéma & Cie

Perron, Bernard, and Nicolas Dulac. 2007. "Présentation". Cinéma & Cie., No 10 (Spring), p. 9-15.

Cinémas

Perron. Bernard. 2002. "Présentation". Cinémas : Cinéma et cognition, Vol. 12, No 2 (Winter), p. 7-14.

Cinémas

Perron. Bernard. 2002. "Faire le tour de la question". Cinémas : Cinéma et cognition, Vol. 12, No 2 (Winter), p. 135-157.

Cinémas

Perron. Bernard. 2001. "Le petit glossaire “cinématographique” de la science cognitive". Cinémas : Eisenstein dans le texte, Vol. 11, No 2-3 (Spring), p. 275-290.

Revue Canadienne d'études cinématographiques

Perron. Bernard. 1996. "Alain Cavalier : visage de style". Revue canadienne d’études cinématographiques, Vol. 5, No 1 (Spring), p. 23-34.

Études littéraires

Perron, Bernard. 1993. "Focalisation: un détour par la scénaristique", Études littéraires : Le scénario de film, Vol. 26, No 2 (Autumn), p. 27-34.


Digital CultureHaut de la page

World Buildind. Transmedia, Fans, Industries

Perron, Bernard. [To be published in 2017]. "Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead". In Marta Boni (ed.), World Building. Transmedia, Fans, Industries. Amsterdam : Amsterdam University Press.

The Archives

Perron, Bernard, and Federico Giordano (ed.). 2014. The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present. Milan : Mimesis International.

The Archives

Perron. Bernard, and Federico Giordano. 2014. "Preserving and Organizing the New Media Contents: Traditional Archive, Mobile and Living Archive or Anarchive". In Bernard Perron and Federico Giordano (ed.), The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present, p. 9-21. Milan : Mimesis International.

Kinephanos

Laurin, Hélène, and Dominic Arsenault. 2011. "La légitimation culturelle". Kinephanos, Vol. 2. [Online]

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Through this issue, we propose to examine five types of legitimation processes. There is the legitimization, and hence the canonization, of works by complex intertextual relations; for circulating a work is largely a matter of putting it in the collective memory. One can also want to legitimize an emerging artistic practice or form, with rhetoric reinforcing with legitimating bodies: this was the case, for example, with cinema as "filmed theater" and a century later with video games as "interactive cinema". ". A third process of legitimization is perhaps more the result of the digital revolution: the decline of the "legitimate" culture, which is steadily declining in the face of the proliferation of sub-cultures that are at the same time more segmented but hyper-accessible. There is room for a fourth process of legitimization rooted in the popularization of textual figures or formal mechanisms previously reserved for marginal productions. The balance of power between the Institution and the many popular authorities is reversed and the cultural hierarchy dissolved. The fifth process of legitimation is one that is carried out in spite of itself: to gather cultural artifacts in one place, even if they have no stylistic coherence, tends towards an "official" comprehension of these artifacts.

Kinephanos

Picard, Martin, and Marc Joly-Corcoran. 2009. "Imageries numériques : culture et réception : Présentation". Kinephanos, Vol. 1, No 1 (December). [Online]


Play and Video GameHaut de la page

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Arsenault, Dominic, and Jonathan Lessard. 2018. "Introduction à la section 3 : histoire et jeux vidéo : construction, stratégie et aventure". In Marc-André Éthier, David Lefrançois and Alexandre Joly-Lavoie (eds.), Mondes profanes : Enseignement, fiction et histoire. Québec : Presses de l’Université Laval. [PDF Pre-publication]

Kinephanos

Vollans, Ed, Stephanie Janes, Carl Therrien and Dominic Arsenault (eds.). 2017. "“It’s [not just] in the game”: the promotional context of video games / le contexte promotionnel des jeux vidéo". Kinephanos, Vol.7, No.1 (November). [Online]

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Perron, Bernard, and Felix Schröter. 2016. "Introduction: Video Games, Cognition, Affect and Emotion". In Perron, Bernard and Felix Schröter (eds.), Video Games and the Mind. Essays on Cognition, Affect and Emotion, p. 1-13. Jefferson : McFarland.

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Perron, Bernard. 2016. "Emotions in Video Games : Are You Concerned?". In Perron, Bernard and Felix Schröter (eds.), Video Games and the Mind. Essays on Cognition, Affect and Emotionp. 189-209. Jefferson : McFarland.

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Bonenfant, Maude, and Dominic Arsenault. 2016. "Dire, faire et être par les jeux vidéo : L'éthique et la performativité au prisme des rhétoriques procédurale et processuelle". Implications philosophiques, (July-August). [Online]

Science du jeu

Perron, Bernard, and Benoit Melançon. 2016. "L'art en jeu ou le jeu de l'art". Sciences du jeu, No 6. [Online]

Sciences du jeu

Dor, Simon. 2016. "Rejouer le même récit dans différentes adaptations ludiques de l’univers de J.R.R. Tolkien". Sciences du jeu, No 5. [Online]

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Arsenault, Dominic, and Jonathan Lessard. 2016. "The Character as Subjective Interface". Proceedings from "The Ninth International Conference on Interactive Digital Storytelling (ICIDS)", Los Angeles : University of Southern California. [PDF]

The MIT press

Arsenault, Dominic, and Louis-Martin Guay. 2015. "Canada". In Mark J. P. Wolf (ed.), Video Games Around the World, p. 105-118. Boston : The MIT Press.

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Canada is widely regarded as a subset of the US market, with differences in sales patterns between the two countries “not of a serious magnitude”. Canada’s relatively small population, together with the continental proximity, permissive trade agreements, and close cultural exchanges between the two English-speaking countries, have all contributed in minimizing Canada as a distinct territory. This chapter details the history of game production in Canada, from the establishment of foreign industry giants to the Canadian independent developers and their challenges and strengths.

GAME

Arsenault, Dominic, and Bernard Perron. 2015. "De-Framing Video Games from the Light of Cinema". G|A|M|E: The Italian Journal of Game Studies,mmmm No 4 [Online]

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In this essay, we shall try to step back from a blinding cinema-centric approach in order to examine the impact such a framing has caused, to question its limitations, and to reflect on the interpretive communities that have relied on film (communities we are part of, due to our film studies background) to position video games as an important cultural phenomenon as well as an object worthy of scholarly attention. Using Gaudreault and Marion’s notion of cultural series and wishing to spread a French theoretical approach we find very relevant to the discussion, we will question the bases on which we frame video games as cinema. This inquiry will focus on the audiovisual nature of both media and highlight their differing technical and aesthetic aspects, which will lead us to consider video games as being closer to other forms of audiovisual media.

Rated M for Mature

Picard, Martin, and Jérémie Pelletier-Gagnon. 2015. “Beyond Rapelay: Self-regulation in the Japanese Erotic Video Game Industry”. In Matthew Wysocki and Evan W. Lauteria (eds.), Rated M for Mature: Sex and Sexuality in Video Games. London : Bloomsbury.

Identité et multiplicité en ligne

Dor, Simon. 2015. "Identité(s) du joueur et du personnage. Au-delà de l’analyse mimétique des jeux vidéo". In Charles Perraton and Maude Bonenfant (eds.), Identité et multiplicité en ligne, p. 67-86. Montréal : Presses de l’Université du Québec.

The Routledge Companion to Video Game Studies

Perron, Bernard and Mark J.P. Wolf (eds.). 2014. The Routledge Companion to Video Game Studies. New York : Routledge.

The Routledge Companion to Video Game Studies

Arsenault, Dominic. 2014. "Narratology". In Mark J.P. Wolf and B. Perron (eds.), The Routledge Companion to Video Game Studies, p. 475-483New York Routledge.

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This chapter provides an overview of the overlap “between games and stories”, briefly summarizing the ludology/narratology debate, providing contextual information on structuralist and post-classical narratology, and charting out the kinds of narrative studies that are done in game studies. Video game criticism has addressed the narrative contents of games, such as plot twists, narrative inconsistencies, rhythm, script and writing quality of games, but by and large, the most common research conducted on narrative content in games so far has focused on the narrative structures or topologies of games, in an attempt to identify the recurrent ways in which interactivity can gate or deploy narrativity and vice versa.

The Routledge Companion to Video Game Studies

Picard, Martin. 2014. “Levels”. In Bernard Perron and Mark J.P. Wolf (eds.), The Routledge Companion of Video Game Studies p. 99-105. New York : Routledge.

The Routledge Companion to Video Game Studies

Dor, Simon. 2014. "Emulation". In Mark J.P. Wolf and Bernard Perron (eds.), Routledge Companion to Video Game Studies, p. 25-31. New York : Routledge.

The Routledge Companion to Video Game Studies

Dor, Simon. 2014. "Strategy". In Mark J.P. Wolf and Bernard Perron (eds.), Routledge Companion to Video Game Studies, p. 275-281. New York : Routledge.

Game Studies

Dor, Simon. 2014. "The Heuristic Circle of Real-Time Strategy Process: A StarCraft: Brood War Case Study". Game Studies, Vol. 14, No 1 (August). [Online]

Kinephanos

Dor, Simon. 2014. "A History of Real-Time Strategy Gameplay From Decryption to Prediction: Introducing the Actional Statement". Kinephanos, special issue (January), p. 58-73. [Online]

Sciences du jeu

Perron, Bernard, and Gilles Brougère. 2013. "Editorial : Pour une “French Touch” des études sur le jeu".  Sciences du jeu, No 1 (Autumn).  [Online]

Sciences du jeu

Perron, Bernard. 2013. "L’attitude de Jacques Henriot". Sciences du jeu, No 1 (Autumn). [Online]

Avatars, personnages et acteurs virtuels

Arsenault, Dominic. 2013. "Qui est ‘je’? Autour de quelques stratégies vidéoludiques de design de personnage pour gérer l’actantialité ludo-narrative du joueur et son immersion fictionnelle". In R. Bourassa and L. Poissant (eds.), Avatars, personnages et acteurs virtuels, p. 249-272. Québec : Presses de l’Université du Québec.

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This article focuses on the central role played by the character in the reconciliation of narrativity and interactivity through a theoretical and critical study of some strategies used by designers to achieve an identity fusion of the player with the character. There are two fictional immersion postures identified by Jean-Marie Schaeffer: allosubjective identification and identity virtualization. These postures are related to character design processes: the avatorial approach, centered on the concept of avatar and trying to overcome intersubjective differences, and the actorial approach, which on the contrary aims to increase them by making character an autonomous actor rather than an avatar. These two practices are not mutually exclusive; on the contrary, it is shown that to achieve fictional immersion, most games attempt to keep track of the player in the avatar, and a trace of the character in the actor. Markers of allosubjectivity and subjectivization are identified by the analysis of Metroid Prime games, Duke Nukem 3D, Gears of War and Shadowrun. Finally, the article also examines the relationship between the playful and the narrative according to the actantial role of the player and the character, skinning in passing the convention of the "silent hero" (silent protagonist) often encountered in the video game but ultimately unproductive.

Game Studies

Picard, Martin. 2013. “The Foundation of Geemu: A Brief History of Japanese Video Games”. Game Studies: the international journal of computer game research, Vol. 13, No 1 (December). [Online]

Nouvelles vues

Arsenault, Dominic and Vincent Mauger. 2012. "Au-delà de ‘l’envie cinématographique’ : le complexe transmédiatique d’Assassin’s Creed". Nouvelles vues : revue sur les pratiques et les théories du cinéma au Québec, No 13 (Winter-Spring). [Online]

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We propose to address in this article the relationship between video games and cinema through a specific case study: the Assassin's Creed franchise, which is part of a specific techno-historico-cultural context: that of technologies digital image in Quebec. In particular, we will question the role played by the trilogy of Assassin's Creed: Lineage short films, directed by Yves Simoneau and Hybride Technologies, and broadcast for free on YouTube in order to stir the interest of players before the release of the game Assassin's Creed II. Of all the media versions of the Assassin's Creed franchise to date, it is she who best embodies the technological convergence between cinema and video games, but also our original model of transmedia constellation. Far from acting as mere promotional tools, the films capitalize on the strengths of the cinema and contribute to the deployment of the franchise, but not smoothly. From the general to the particular, we will focus first of all on the relation between these two arts, which we can consider under two paradigms: that of the remedialization and that of the transmediality; then, we will treat the Assassin's Creed case as the most recent incarnation of the crossover and tension relationships between the cinema and the video game. We will show how the transmedia model is an extension of the questions about remedialization, then how it illuminates and uses the specificities that distinguish the cinema and the video game as the common points that bring them together.

Encyclopedia of Video Games

Arsenault, Dominic. 2012. "Nintendo Entertainment System". In Mark J.P. Wolf (ed.), The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, Vol. 2, p. 449-456. Santa Barbara : ABC-Clio/Greenwood Pres.

Encyclopedia of Video Games

Arsenault, Dominic. 2012. "Super Nintendo Entertainment System". In M. J.P. Wolf (ed.), The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, Vol. 2, p. 634-636. Santa Barbara : ABC-Clio/Greenwood Press.

Encyclopedia of Video Games

Perron. Bernard. 2012. "Roger Caillois", "Joahn Huizinga" and "Magic Circle". In Mark J.P. Wolf (ed.), Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, Vol. 1, p. 85-87, 305-307 and 369-370. Westport : Greenwood Press.

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Arsenault, Dominic, and Maude Bonenfant. 2012. "Poiesis and Imagination in the Aesthetic Experience: The Moment of Grace in Computer Game Play". Proceedings from "The Philosophy of Computer Games 2012". [Online]

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What is the nature of a computer game player’s experience? To have a computer game experience is to have a functional experience, one that is tailored to its function as a computer game. This function is defined by the sum of the properties that produce the meaning of a computer game experience, distinct from the other experiences of human existence: the player ascribes this particular meaning to his experience instead of another. The properties of this experience can be divided between its many dimensions, such as the technical (techne), ethical (ethos), aesthetic (aisthêtikos), etc., and account for the richness and complexity of human experience. These dimensions cannot be envisioned separately from their combined effects and function as an inseparable whole that define the meaning of life. However, for the needs of our demonstration, we will focus on a study of the aesthetic dimension of the computer game player’s experience to show how it deploys itself, whether one is playing games as diverse as Super Mario Bros. (Nintendo, 1985), Mount and Musket: Battalion (Independent, 2010) or Trauma (Krystian Majewski, 2011).

Encyclopedia of Video Games

Picard, Martin. 2012. “Art”, “I, Robot”, “Japan”. In Mark J.P. Wolf (ed.), Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, Vol. 1, p. 38-39, 307-308 and 334-337. Wesport : Greenwood Press.

Encyclopedia of Video Games

Roux-Girard, Guillaume. 2012 "Metal Gear Series". In Mark J.P. Wolf (ed.), Encyclopedia of Video Games, Vol. 2, p. 395-398. Santa Barbara : ABC-Clio Press.

Encyclopedia of Video Games

Dor, Simon. 2012. "Cartridges", "Emulators", "MAME" and "StarCraft". In Mark J.P. Wolf (ed.), Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, Vol. 1 and 2, p. 92-93; 192-194; 423-425; 624-626. Westport : Greenwood Press and Santa Barbara : ABC-Clio Press.

Cahiers du Gerse

Dor, Simon. 2011. "De la stratégie et de la tactique. La ruse dans les jeux de stratégie en temps réel". In Charles Perraton and Maude Bonenfant (eds.), La ruse. Entre la règle et la triche, p. 113-130. Montréal : Presses de l’Université du Québec.

Questions de communication

Perron, Bernard. 2010. "Le lecteur de théorie du jeu vidéo". In S. Craipeau, S. Genvo., B. Simonnot, Questions de communication : Les jeux vidéo au croisement du social, de l'art et de la culture, Série actes 8 (June), p.15-26. Nancy : Presses Universitaires de Nancy.

Loading...Journal of the Canadian Game Studies Assiociation

Arsenault, Dominic. 2010. "Introduction à la pragmatique des effets génériques : l’horreur dans tous ses états". Loading...Journal of the Canadian Game Studies Association, Vol. 4, No 6. [Online]

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This article lays the groundwork for a new theoretical approach to the question of genre, the pragmatics of generic effects. In this context, genre is expressed in generic effects that appear punctually through the semiotic sequence of a cultural object, which the reader / spectator / player can recognize and which modulates both his horizon of expectations and his cognitive understanding of the object. The relevance and ramifications of this approach are demonstrated through a case study that focuses on the game genre of survival horror. This one is deconstructed into its two components, the thematic genre of horror and the playful genre of survival. Each is studied through two games, Resident Evil and Diablo, respectively emblematic and foreign to the genre.

The Video Game Theory Reader 2

Perron, Bernard, and Mark J.P. Wolf (eds.). 2009. The Video Game Theory Reader 2. New York : Routledge.

The Video Game Theory Reader 2

Arsenault, Dominic, and Bernard Perron. 2009. "In the Frame of the Magic Cycle: The Circle(s) of Gameplay". In Bernard Perron and Mark J. P. Wolf (eds.), The Video Game Theory Reader 2, p. 109-131. New York Routledge.

The Video Game Theory Reader 2

Perron, Bernard, and Mark J.P. Wolf. 2009. "Introduction". In Bernard Perron and Mark J.P. Wolf (eds.), The Video Game Theory Reader 2, p. 1-21. New York : Routledge.

The Video Game Theory Reader 2

Perron, Bernard, and Mark J.P. Wolf. 2009. "Appendix – Video Games Through Theories and Discipline: Medecine". In Bernard Perron and Mark J.P. Wolf (eds.), The Video Game Theory Reader 2p. 306-307. New York : Routledge.

The Video Game Theory Reader

Picard, Martin. 2009. "Art/Aesthetics in Video Games". In Bernard Perron and Mark J.P. Wolf (eds.), The Video Game Theory Reader, p. 333-334. New York : Routledge.

The Video Game Theory Reader 2

Roux-Girard, Guillaume. 2009. "Film Studies". In Bernard Perron and Mark J. P. Wolf (eds.), The Video Game Theory Reader 2, p. 349-350. New York : Routledge.

Narration in the Video Game

Arsenault, Dominic. 2008. Narration in the Video Game. An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers. Saarbrücken : VDM Verlag.

The Video Game Explosion

Arsenault, Dominic. 2007. "Company Profile: Nintendo". In Mark J. P. Wolf (ed.), The Video Game Explosion: A History from PONG to PlayStation and Beyond, p. 113-114. Westport Greenwood Press.

The Video Game Explosion

Arsenault, Dominic. 2007. "System Profile: The Nintendo Entertainment System". In Mark J. P. Wolf (ed.), The Video Game Explosion: A History from PONG to PlayStation and Beyond, p. 109-114. Westport Greenwood Press.

The Video Game Explosion

Arsenault, Dominic. 2007. "System Profile: Sony PlayStation". In Mark J. P. Wolf (ed.), The Video Game Explosion: A History from PONG to PlayStation and Beyond, p.177-182. Westport : Greenwood Press.

The Video Game Explosion

Arsenault, Dominic. 2007. "The Video Game as an Object of Controversy". In Mark J. P. Wolf (ed.), The Video Game Explosion: A History from PONG to PlayStation and Beyond, p. 277-281. Westport Greenwood Press.

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Arsenault, Dominic, and Martin Picard. 2007. "Le jeu vidéo entre dépendance et plaisir immersif : les trois formes d’immersion vidéoludique". Le jeu vidéo: un phénomène social massivement pratiqué?Proceedings from "75ième congrès de l'ACFAS", Université du Québec À Trois-Rivières. [PDF]

Décadrages

Arsenault, Dominic, and Bernard Perron. 2006. "L'empire vidéoludique : comment les jeux vidéo ont conquis l'univers de Star Wars". Décadrages. Dossier : Le monde de Star Wars, Vol. 8-9 (Autumn), p. 98-105.

Le game design de jeux vidéo

Perron, Bernard. 2006. "Jeu vidéo et émotions". In Sébastien Genvo (ed.), Le game design de jeux vidéo. Approches de l’expression vidéo-ludique, p. 347-366. Paris : Éditions l’Harmattan.

DIGRA

Arsenault, Dominic. 2005. "Abstract of Dynamic Range: When Game Design and Narratives Unite". Proceedings from "DIGRA 2005" (Vancouver), Simon Fraser University. [Online]

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Arsenault, Dominic. 2005. "Dark Waters: Spotlight on Immersion". p.50-52. Proceedings from "Game On North America 2005" (Ghent), Eurosis-ETI.

The Video Game Theory Reader

Perron, Bernard, and Mark J.P. Wolf (eds.). 2003. The Video Game Theory Reader. New York : Routledge.

The Video Game Theory Reader

Perron, Bernard, and Mark J.P. Wolf. 2003. "Introduction". In B. Perron and Mark J.P. Wolf (eds.), The Video Game Theory Reader, p. 1-24. New York : Routledge.

Cahier du Gerse

Perron, Bernard. 2002. "Un regard ludique sur la ville. Se perdre dans le Los Angeles futuriste du jeu vidéo Blade Runner". Cahier du Gerse : Montréal entre ville et cinéma. Du cinéma et des restes urbains prise 3, No 4 (Winter), p. 39-52.


Sound and MusicHaut de la page

Oxford Handbook of Interactive Audio

Roux-Girard, Guillaume. 2014. "Sound and the Videoludic Experience". In Bill Kapralos, Karen Collin and Holly Tessler (eds.), Oxford Handbook of Interactive Audio, p. 131-146. Oxford : Oxford University Press.

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Arsenault, Dominic, et Louis-Martin Guay. 2013. "RocKonférence sur la création et les hybridations historiques, esthétiques et culturelles entre heavy metal et jeu vidéo". In Serge Cardinal (ed.). Proceedings from "La création sonore  et l’OICRM (Observatoire Interdisciplinaire de Création et de Recherche en Musique)" (Montreal, March 15, 2013), Carrefour des arts et des sciences de l’Université de Montréal.

Heavy Metal Generations

Arsenault, Dominic, and Louis-Martin Guay. 2012. "Thumb-Bangers: Exploring the Cultural Bond between Video Games and Heavy Metal". In Andy R. Brown and Kevin Fellezs (eds.)Heavy Metal Generations, p.105-115. Oxford : Inter-Disciplinary Press.

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Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. From Judas Priest’s “Freewheel Burning” music video in 1984 to Tim Schafer’s Brütal Legend in 2009, the exchanges between these two subcultures have been both reciprocal and exponential. This paper will present a historical survey of the bond between video games and heavy metal cultures through its highest-profile examples. There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. These reasons explain the natural bond between these cultural practices, and the more recent developments like Last Chance to Reason’s Level 2 let us foresee a future where new hybrid creations could emerge.

Encyclopedia of Video Games

Roux-Girard, Guillaume. 2012. "Sound". In Mark J. P. Wolf (ed.), Encyclopedia of Video Games, p. 598-601. Santa Barbara : ABC-Clio Press.

Game sound technology

Roux-Girard, Guillaume. 2011. "Listening to Fear: A Study of Sound in Horror Computer Games". In Mark Grimshaw (eds.), Game Sound Technology and Player Interaction: Concepts and Developments, p. 192-212. Hershey : IGI Global.

Loading...

Arsenault, Dominic. 2008. "Guitar Hero: Not Like Playing Guitar At All?". Loading...Journal of the Canadian Game Studies Association, Vol. 2, No 2. [Online]

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This paper studies the Guitar Hero video game as a simulation. This is done by examining the game controller and the visual interface, and how they work to accurately simulate the act of playing the guitar.

Inter

Arsenault, Dominic. 2008. "Paysages 8-Bit: musicalité et spatialité dans le jeu vidéo des années 1985-1990". Inter, no 98 (hiver), p. 9-12.

The Sounds of Early Cinema

Perron, Bernard. 2001. "The First Transi-Sounds of Parallel Editing". In Richard Abel and Rick Altman (eds.), The Sounds of Early Cinema, p. 79-86. Bloomington : Indiana University Press.

The Sounds of Early Cinema

Perron, Bernard. 2001. "Les transi-sons du cinéma des premiers temps". In Richard Abel and Rick Altman (eds.), The Sounds of Early Cinema, p. 289-294. Bloomington : Indiana University Press.


TheatreHaut de la page

Coulisses

Picard, Martin. 2006. "L'amour impossible entre le théâtre et le cinéma: érotisme et imaginaire du bunraku dans Dolls de Takeshi Kitano". Coulisses, No 33 (January), p. 237-251.

La firme Pathé Frères

Perron, Bernard. 2004. "L’alternance du Médecin du château : scène/hors-scène". Michel Marie and Laurent Le Forestier (eds.), Firme Pathé Frères (1896-1914), p. 165-176. Paris : Association française de recherche sur l’histoire du cinéma.


Reviews, Reports and commentariesHaut de la page

First-Person-Scholar

Arsenault, Dominic. 2017. "Documentation, Periodization, Regionalization, and Marginalization : Four Challenges for Video Game Historiography". First-Person Scholar, (November 29). [Online]

First-Person-Scholar

Arsenault, Dominic. 2015. "Shovel Knight Redug : The Retro Game as Hypertext and Uchronia". First-Person Scholar, (November 16). [Online]

First-Person-Scholar

Arsenault, Dominic, and Audrey Larochelle. 2014. "Game Studies : From Colonization to Columbian Exchange". First-Person Scholar, (June 18). [Online]

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To rework the old spatial metaphor of game studies as a continent, we’re not facing hordes of imperialists coming from their lands and trying to stake out the New World. Rather, we have game studies researchers doing game studies on this new continent and participating in a great big Columbian exchange between fields of research, a bidirectional sharing that enlightens both worlds.

Variations : Objets et savoirs

Maheux, Frédérick, Andréane Morin-Simard, Dominic Arsenault, and Bernard Perron. 2014. "Les jeux vidéo au cœur de l’art, de la culture et de la société". Variations : Objets et savoirs, no.1. Québec : Musées de la civilisation. [Online]

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What are the effects of video games on individuals? What are the changes in the world of video games? What types of culture and society are introducing video games? These are questions that are answered in this first issue of the series. It includes research texts that have nourished the contents of the exhibition Une histoire de jeux vidéo, presented at the Musée de la civilization. These texts are signed by Frédérick Maheux and Andréane Morin-Simard, with the collaboration of Dominic Arsenault and Bernard Perron, from the Department of Art History and Film Studies of the Université de Montréal, and the support of Pierrette Lafond , Aude Porcedda and Mathieu Viau-Courville, Research Fellows at the Museums of Civilization.

Kinephanos

Arsenault, Dominic. 2014. "Fantasia – Angry Video Game Nerd : The Movie International Premiere : A No-Spoilers Review". Kinephanos, (July 29). [Online]

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I see James Rolfe as a talented filmmaker who has proven he can master the palettes of horror and comedy. What I want to suggest is that the movie suffers from a conflict between Rolfe’s filmmaking ambitions and the origins and formula of the Nerd. Maybe the Nerd isn’t the right vehicle for Rolfe’s filmmaking ambitions.

MediaCommons

Arsenault, Dominic. 2013. "Post-narratology: A case for object-oriented narrative game studies". MediaCommons, (November 22). [Online]

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Narratology cannot be envisioned as a viable or productive framework for studying every single game. However, it is a relevant analytical frame for a wide variety of game genres and analytic purposes. Game studies have for a long time required researchers to specialize in some theoretical approach, subject or topic. It’s now time for game scholars to embrace some form of specialization as to the objects they study as well.

Kinephanos

Picard, Martin, and Dominic Arsenault. 2013. "Exposition ‘‘Une histoire de jeux vidéo’’ au Musée de la Civilisation à Québec". Kinephanos, (August 21). [Online]

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By focusing on a cultural and aesthetic approach, the exhibition traces in a relevant way the 40 years (and more) of the evolution of the video game, from 1972 (release of PONG) to today, the space being divided into seven sections . But since the Musée de la civilization has taken over the French exhibition, consoles, games and paratexts all come from France. The memories that will probably have many visitors will be presented to them, but in an alternative version, as if they let themselves be described by the eyes of another. This is undoubtedly the great criticism that can be made to this exhibition: the story of video games that it presents, it is not quite ours.

Kinephanos

Arsenault, Dominic. 2013. "Eros & Cie. - Critique Fantasia". Kinephanos, (July 28). [Online]

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Reviews of 11 Quebec short films presented as part of the Fantastique weekend du film québécois, in a block titled Eros et cie. Good choice of words, since desire and sexuality figured in all the short films presented, without being the focal point in each case. I really enjoyed the whole projection. I had, in particular, three favorites, a disappointment, and two revelations.

CIAC

Arsenault, Dominic. 2010. "De la bande passante à la bande son : le CODE ORGAN". CIAC, no 36. [Online]

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C O D E O R G A N is a very recent Flash application, a curiosity that made waves on the Web as soon as it was released on February 19, 2010. Playful, Codeorgan can be "nurtured" by any valid web address; after analysis and according to an algorithm of the designers, he translates the site into music and allows the user to "listen". Although part of the general idea of computer music, the Codeorgan brings a social and collective dimension to what was traditionally the business of an artist. Because if the authors of Codeorgan have defined its rules, it is from the present data (the various Web pages that they consulted to test their application during the development) that they established them to obtain certain sonorities.


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