{"id":1966,"date":"2024-05-14T20:04:39","date_gmt":"2024-05-15T00:04:39","guid":{"rendered":"https:\/\/www.ludov.ca\/observation\/approche-ludique-du-cinema\/"},"modified":"2026-02-25T11:07:42","modified_gmt":"2026-02-25T16:07:42","slug":"a-ludic-approach-to-cinema","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/en\/observation\/a-ludic-approach-to-cinema\/","title":{"rendered":"A ludic approach to cinema"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"1966\" class=\"elementor elementor-1966 elementor-427\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fa79a55 e-con-full observation mobnopad e-flex e-con e-parent\" data-id=\"fa79a55\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f6ec6c9 collection-tabs video-game-tabs elementor-tabs-view-horizontal elementor-widget elementor-widget-tabs\" data-id=\"f6ec6c9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-tabs\">\n\t\t\t<div class=\"elementor-tabs-wrapper\" role=\"tablist\" >\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2581\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-2581\" aria-expanded=\"false\">Project<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2582\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2582\" aria-expanded=\"false\">Results<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2583\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2583\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t<div class=\"elementor-tabs-content-wrapper\" role=\"tablist\" aria-orientation=\"vertical\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-2581\" aria-expanded=\"false\">Project<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2581\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2581\" tabindex=\"0\" hidden=\"false\"><p>Project under the supervision of\u00a0<a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#BernardPerron\" target=\"_blank\" rel=\"noopener\">Bernard Perron<\/a>\u00a0(2001-2004)<\/p>\n<p>This research is underpinned by spectatorship-in-progress, namely the perceptual and cognitive activity performed by the viewer throughout a narrative fiction film. The application of concepts and notions from cognitive science introduced into film studies has made it possible to update and take a fresh look at this activity. More specifically, this research programme has taken a theoretical avenue that has not yet been explored in film studies: the notion of play. It has sought to lay the foundations for a very fruitful analogy between narrative cinema and play, among other things through the creation of a documentary collection.<\/p>\n<p>Play is a fertile ground for studying the cognitive interactivity between film and viewer. After all, with the current gamification of culture, the contemporary viewer is ultimately nothing more than a spectator ludens. Fictional and narrative films were therefore considered as games and divided into two categories: ludus ilinx \u2014 largely represented by blockbuster films \u2014 and ludus ag\u00f4n \u2014 comprising films with more convoluted narratives. Since the use of the concept of play to better understand progressive spectatorship and narrative cinema always involves a certain degree of detachment, and since the resolution of the enigma or the discovery of the key to the mystery always takes place at a second level, this research programme also focused on narrative multimedia hypertexts that literally transform the spectator into a player. It has begun analysing a corpus of interactive films.<\/p>\n<h5>Social Sciences and Humanities Research Council of Canada (SHRC) Grant: For a Ludic Approach to Cinema (2001-2004)<\/h5>\n<p><\/p>\n<h5>Subvention Fonds pour la formation de chercheurs et l&#8217;aide \u00e0 la recherche (FCAR) : La spectature, une activit\u00e9 ludique (2001-2004)<\/h5>\n<p><\/p>\n<h4>Research Assistants<a id=\"auxiliaires\" name=\"auxiliaires\"><\/a><\/h4>\n<p><\/p>\n<ul>\n<li>S\u00e9bastien Babeux\u00a0(2001-2004)<\/li>\n<li>Vincent Chouzenoux\u00a0(2002-2004)<\/li>\n<li>Fran\u00e7ois L\u00e9vesque\u00a0(2003-2004)<\/li>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#CarlTherrien\" target=\"_blank\" rel=\"noopener\">Carl Therrien<\/a>\u00a0(2001-2004)<\/li>\n<\/ul>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2582\" aria-expanded=\"false\">Results<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2582\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2582\" tabindex=\"0\" hidden=\"hidden\"><p>&#8211; Database:\u00a0<a id=\"Cineludic Bibliography\" title=\"Cineludic Bibliography\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/document\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Cineludic Bibliography\">Cineludic Bibliography<\/a><\/p>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2583\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2583\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2583\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"4440\" class=\"elementor elementor-4440\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6b19f2a e-con-full e-flex e-con e-parent\" data-id=\"6b19f2a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e216582 elementor-widget elementor-widget-text-editor\" data-id=\"e216582\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Books and periodicals<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full e-flex e-con e-parent\" data-id=\"c1f9b00\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-89a4bbc elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"89a4bbc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"180\" height=\"272\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Jouer2.jpg\" class=\"attachment-large size-large wp-image-695\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-df3d0b2 elementor-widget elementor-widget-text-editor\" data-id=\"df3d0b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard (dir.). 2007. <em>Interm\u00e9dialit\u00e9s, jouer<\/em>. n\u00b0 9 (Fall). [<a title=\"Interm\u00e9dialit\u00e9s, Jouer\" href=\"https:\/\/www.erudit.org\/revue\/im\/2007\/v\/n9\/\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingThree\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseThree\" aria-expanded=\"false\" aria-controls=\"collapseThree\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseThree\" class=\"collapse in\" aria-labelledby=\"headingThree\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Homo ludens. Johan Huizinga asserts that this term, which characterizes man as a player, may be more appropriate for our species than the names homo sapiens \u2014 man who reasons \u2014 or homo faber \u2014 man who makes. Although, as Jacques Henriot reminds us, we must resist the idea that play is \u201ca fundamental factor in everything that happens in the world,\u201d the importance of video games today only serves to underscore Huizinga&#8217;s conviction that \u201ccivilization arises and unfolds in and as play.\u201d<\/p><p>From media arts to literature, video games to cinema, this issue offers a reflection on the gamification of culture and media. Although the texts presented differ in terms of the themes they address, they can be grouped into two distinct approaches. First, several authors have chosen to focus on the relationship between fiction and play, as well as the mediations they engender. Whether discussing the interaction between the real, the virtual, and the fictional in video games, the conflictual space between fiction and reality created by \u201cexhibition cinema,\u201d or a redefinition of the notion of \u201cout of play\u201d based on authorial and\/or spectatorial activity, all emphasize the eminently playful nature of fiction. The second approach questions two fundamental theories of play: one that relates play to learning and interpretive practice, and the other that associates it with an anti-aesthetic form leading to destruction.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f221a54 e-con-full e-flex e-con e-parent\" data-id=\"f221a54\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9a3cbc3 elementor-widget elementor-widget-text-editor\" data-id=\"9a3cbc3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>BOOK CHAPTERS AND ARTICLES<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dc3868a e-con-full e-flex e-con e-parent\" data-id=\"dc3868a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-126a248 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"126a248\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"268\" height=\"188\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Perron-Picard-Blanchet-Aventure-et-Guide.jpg\" class=\"attachment-large size-large wp-image-707\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0245119 elementor-widget elementor-widget-text-editor\" data-id=\"0245119\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, and Martin Picard. 2015. &#8220;Petit guide en six termes pour survivre \u00e0 l&#8217;approche th\u00e9orique des relations entre le jeu vid\u00e9o et le cin\u00e9ma.&#8221; In Alexis Blanchet (ed.), <em>Cin\u00e9ma et jeu vid\u00e9o<\/em>,\u00a0p. 24-37. Paris:\u00a0Questions Th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9222cc e-con-full e-flex e-con e-parent\" data-id=\"a9222cc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a1253ca elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"a1253ca\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"250\" height=\"400\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg\" class=\"attachment-large size-large wp-image-712\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg 250w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008-188x300.jpg 188w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fb19b3e elementor-widget elementor-widget-text-editor\" data-id=\"fb19b3e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2008. &#8220;Dal film al gioco: l&#8217;esperienza forzata di paura.&#8221; In Matteo Bittanti (ed.),\u00a0<em>Schermi interattivi. Saggi critici su videogiochi &amp; cinema,<\/em>\u00a0p.\u00a0233-259.\u00a0Rome :\u00a0Meltemi.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-58e8545 e-con-full e-flex e-con e-parent\" data-id=\"58e8545\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-68235bb elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"68235bb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"659\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007.jpg\" class=\"attachment-large size-large wp-image-714\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007.jpg 659w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007-198x300.jpg 198w\" sizes=\"(max-width: 659px) 100vw, 659px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6183f0a elementor-widget elementor-widget-text-editor\" data-id=\"6183f0a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2007. &#8220;Pr\u00e9sentation. L\u2019entre-jeux : m\u00e9diations ludiques.&#8221;\u00a0<em>Interm\u00e9dialit\u00e9s<\/em>,\u00a0<a title=\"Interm\u00e9dialit\u00e9s, Jouer\" href=\"https:\/\/www.erudit.org\/revue\/im\/2007\/v\/n9\/\" target=\"_blank\" rel=\"noopener\"><em>Jouer<\/em><\/a>, n\u00b0 9 (Fall), p. 9-13. [<a href=\"https:\/\/www.ludov.ca\/documents\/publications\/entre_jeux_mediations_ludiques.pdf\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6fd6a09 e-con-full e-flex e-con e-parent\" data-id=\"6fd6a09\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-958f326 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"958f326\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"773\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007.jpg\" class=\"attachment-large size-large wp-image-717\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007.jpg 773w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007-232x300.jpg 232w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007-768x994.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8a8462e elementor-widget elementor-widget-text-editor\" data-id=\"8a8462e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2007. &#8220;Anaconda, a Snakes and Ladders Game. Horror Film and the Notions of Stereotype, Fun and Play.&#8221;\u00a0<em>Journal of Moving Image Studies<\/em>, vol. 5, n\u00b0 1 (December), p. 20-30. [<a title=\"Anaconda, a Snakes and Ladders Game. Horror Film and the Notions of Stereotype, Fun and Play\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/BPerron_-_Anaconda.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingFour\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFour\" aria-expanded=\"false\" aria-controls=\"collapseFour\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseFour\" class=\"collapse in\" aria-labelledby=\"headingFour\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>In a chapter of her book Les id\u00e9es re\u00e7ues. S\u00e9miologie du st\u00e9r\u00e9otype (1991), Ruth Amossy examines the industrialization of fear and associates horror fiction with play and games. It is precisely this relationship between stereotypes (as Barthes said, a monster hides behind every sign) and the playful spirit that this article will seek to clarify. Drawing on concepts from social cognition, cognitive psychology, literary studies, and game theory, it will examine the details of this \u201crepetition within diversity that ensures the effect of the stereotype\u201d (Amossy).<\/p><p>To achieve this, this article conducts a textual analysis of the genre film Anaconda (Luis Llosa, 1997). More specifically, it describes how this film, which introduces a giant snake as a monster, is constructed like a game of snakes and ladders. The article demonstrates how stereotypical characters, in this case the documentary film crew (consisting of a Hispanic-American director, an African-American cinematographer, a British narrator, and a white American scientist), are pawns that the director can \u201cmove around.\u201d By respecting or subverting certain rules of the genre \u2014 with which the viewer is familiar \u2014 these \u201cmoves\u201d also serve to \u201cmove\u201d the viewer through space, or more precisely, through the playground circumscribed by the fiction: the Amazon River. For example, certain movements, which could be identified as ladder-like, will allow the characters and the narrative to progress normally, while snake-like movements will eliminate \u201cpawns\u201d or thwart the viewer&#8217;s expectations.<\/p><p>In conclusion, the article shows that this construction applies generally to monster and horror films (the analogy with snakes and ladders is obviously applicable without the monster being a snake) and ultimately emphasizes that it is in a playful exchange that stereotypes take on their full meaning.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9c7ddb9 e-con-full e-flex e-con e-parent\" data-id=\"9c7ddb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ce0b0e elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3ce0b0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"288\" height=\"373\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg\" class=\"attachment-large size-large wp-image-722\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg 288w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006-232x300.jpg 232w\" sizes=\"(max-width: 288px) 100vw, 288px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-05323d4 elementor-widget elementor-widget-text-editor\" data-id=\"05323d4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2006. &#8220;Quand le brouillard se dissipe :\u00a0<em>Silent Hill,<\/em>\u00a0le film.&#8221;\u00a0<em>Cin\u00e9-Bulles<\/em>, vol. 24, n\u00b0 4 (Fall), p. 42-47. [<a title=\"Quand le brouillard se dissipe : Silent Hill, le film\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinebulles%20-%202007.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6802036 e-con-full e-flex e-con e-parent\" data-id=\"6802036\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ef60bab elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"ef60bab\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"774\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-774x1024.jpg\" class=\"attachment-large size-large wp-image-724\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-774x1024.jpg 774w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-227x300.jpg 227w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-768x1016.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005.jpg 921w\" sizes=\"(max-width: 774px) 100vw, 774px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-65e58bc elementor-widget elementor-widget-text-editor\" data-id=\"65e58bc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tTherrien, Carl. 2006. &#8220;Le cin\u00e9ma sous l&#8217;emprise du jeu. R\u00e9f\u00e9rences ludiques et mise au jeu dans le cin\u00e9ma contemporain.&#8221; In D. Rivi\u00e8re (ed.),\u00a0<em>Jeux et enjeux de la narrativit\u00e9 dans les pratiques contemporaines<\/em>, p.\u00a092-104.\u00a0Paris:\u00a0Dis Voir.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-430438f e-con-full e-flex e-con e-parent\" data-id=\"430438f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1e3399 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"c1e3399\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"317\" height=\"475\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004.jpg\" class=\"attachment-large size-large wp-image-727\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004.jpg 317w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004-200x300.jpg 200w\" sizes=\"(max-width: 317px) 100vw, 317px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f6d608e elementor-widget elementor-widget-text-editor\" data-id=\"f6d608e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2004. &#8220;Pleins jeux sur le cin\u00e9ma contemporain.&#8221; In\u00a0Jean-Pierre Esquenazi (ed.),\u00a0<em>Cin\u00e9ma contemporain : \u00e9tat des lieux<\/em>,\u00a0p.\u00a0293-308.\u00a0Coll. &#8220;Champs Visuels,&#8221;\u00a0Paris :\u00a0L&#8217;Harmattan. [<a title=\"Pleins Jeux sur le cin\u00e9ma contemporain\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Lyon%20-%202002.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingFive\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFive\" aria-expanded=\"false\" aria-controls=\"collapseFive\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseFive\" class=\"collapse in\" aria-labelledby=\"headingFive\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>This article examines the various relationships between cinema, video games, and the concept of play more generally. It reflects on the changes that these relationships bring about in the production, reception, and consumption of films. If, as Guy Scarpetta and others have pointed out, the advent of postmodernity has restored the value that playfulness had lost in modern cinema, video games have obviously accentuated this dimension beyond measure. \u201cThe video game craze,\u201d noted Alain Le Diberder, \u201chas not only boosted the film industry. It imposed a new relationship between the viewer and the narrative: interactivity\u201d (Cahiers du cin\u00e9ma, no. 503, June 1996). Thus, while there was a time when it was relevant to conceptualize the viewer as a decoder or interlocutor, today it is necessary to perceive the viewer as a player. Contemporary cinema can no longer be conceived without an important relationship to playfulness.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-aa80f6d e-con-full e-flex e-con e-parent\" data-id=\"aa80f6d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-620352c elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"620352c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"442\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg\" class=\"attachment-large size-large wp-image-730\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg 594w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002-300x223.jpg 300w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e4249c5 elementor-widget elementor-widget-text-editor\" data-id=\"e4249c5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Babeux, S\u00e9bastien. 2002.&#8221;Le terrain de la narration ; en-jeu et hors-jeu (l&#8217;exemple de\u00a0<em>Deep Red<\/em>\u00a0de Argento).&#8221;\u00a0<em><a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/\" target=\"\">Artifice<\/a><\/em>,<em>\u00a0Dossier Cin\u00e9ma, jeu, jeux vid\u00e9o : contaminations<\/em>. [<a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/dossierarchives\/116.htm\" target=\"\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-0a196f4 e-con-full e-flex e-con e-parent\" data-id=\"0a196f4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b40b4c6 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"b40b4c6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"442\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg\" class=\"attachment-large size-large wp-image-730\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg 594w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002-300x223.jpg 300w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6ee3bda elementor-widget elementor-widget-text-editor\" data-id=\"6ee3bda\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2002. &#8220;Hors-jeu : introduction.&#8221;\u00a0<em><a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/\" target=\"\">Artifice<\/a><\/em>,\u00a0<i>Dossier Cin\u00e9ma, jeu, jeux vid\u00e9o : contaminations<\/i>. [<a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/dossierarchives\/115.htm\" target=\"\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-1fa47f2 e-con-full e-flex e-con e-parent\" data-id=\"1fa47f2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8dfca8e elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"8dfca8e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002.jpg\" class=\"attachment-large size-large wp-image-732\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002.jpg 695w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002-209x300.jpg 209w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b267144 elementor-widget elementor-widget-text-editor\" data-id=\"b267144\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2002. &#8220;L&#8217;approche ludique du cin\u00e9ma de fiction : un jeu \u00e0 motif mixte.&#8221;\u00a0<em>Compar(a)ison<\/em>,\u00a0<em>Culture m\u00e9diatique<\/em>, vol. 2, p. 69-88. [<a title=\"L'approche ludique du cin\u00e9ma de fiction : un jeu \u00e0 motif mixte\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Comparaison%20-%202002.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\n<div id=\"headingSix\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSix\" aria-expanded=\"false\" aria-controls=\"collapseSix\"><strong>+ Learn more<\/strong><\/a><\/div>\n<div id=\"collapseSix\" class=\"collapse in\" aria-labelledby=\"headingSix\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nThis article examines the foundations of the analogy between cinema and the concept of play. It begins by presenting the concepts that contribute to this analogy (notably Truffaut&#8217;s definition of the art of suspense, Jean-Marie Schaeffer&#8217;s shared playful pretense, and certain theories of reading as play by Michel Picard) and those that conflict with it (such as Colas Duflo&#8217;s criticism of overly vague definitions of play and Espen Aarseth&#8217;s distinctions between narrative text and cybertext or ergodic text).\n\nSecondly, considering fictional and narrative films as filmic game parts, this article specifies what type of games are involved. On the one hand, it is necessary to note that the players (here referring to the director and the viewer) must cooperate and collaborate (collaborative game) in the progression of the narrative. On the other hand, it is necessary to show that this is nevertheless a competitive situation (zero-sum competitive game) in which the players have exclusive interests. Therefore, combining both collaboration and competition, this article defines the game situation of narrative cinema as a mixed motif game.\n\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-62aaa51 e-con-full e-flex e-con e-parent\" data-id=\"62aaa51\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-689d94e elementor-widget elementor-widget-text-editor\" data-id=\"689d94e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Other relevant publications<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dbc8220 e-con-full e-flex e-con e-parent\" data-id=\"dbc8220\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b2903c7 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"b2903c7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"427\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012.jpg\" class=\"attachment-large size-large wp-image-736\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012.jpg 640w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-83d35dd elementor-widget elementor-widget-text-editor\" data-id=\"83d35dd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Arsenault, Dominic, and Vincent Mauger. 2012. &#8220;Au-del\u00e0 de &#8220;l&#8217;envie cin\u00e9matographique&#8221; : le complexe transm\u00e9diatique d&#8217;Assassin&#8217;s Creed.&#8221;\u00a0<em>Nouvelles vues : revue sur les pratiques et les th\u00e9ories du cin\u00e9ma au Qu\u00e9bec, Le cin\u00e9ma qu\u00e9b\u00e9cois et les autres arts<\/em>, n\u00b0 13 (Winter-Spring). [<a href=\"https:\/\/nouvellesvues.org\/wp-content\/uploads\/2021\/08\/Au-dela_de__l_envie_cinematographique___le_complexe_transmediatique_d_Assassin_s_Creed__par_DOMINIC_ARSENAULT_et_VINCENT_MAUGER.pdf\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8b268b6 e-con-full e-flex e-con e-parent\" data-id=\"8b268b6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-d18e6c4 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"d18e6c4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DiGRA-events-et-proceedings2.jpg\" class=\"attachment-large size-large wp-image-738\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7f9c755 elementor-widget elementor-widget-text-editor\" data-id=\"7f9c755\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Therrien, Carl. 2009. &#8220;Making Sens in Ludic Worlds. The Idealization of Immersive Postures in Movies and Video Games.&#8221;\u00a0 Conference proceedings for DIGRA,\u00a0<i>Breaking New Ground: Innovation in Games, Play, Practice and Theory<\/i>.\u00a0West London:\u00a0Brunel University.\u00a0[<a title=\"\" href=\"https:\/\/dl.digra.org\/index.php\/dl\/article\/view\/401\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-5fe60f9 e-con-full e-flex e-con e-parent\" data-id=\"5fe60f9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-da3c52d elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"da3c52d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"210\" height=\"300\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Video-Game-Explosion-History-from-Pong-to-PlayStation-and-Beyond-2008.jpg\" class=\"attachment-large size-large wp-image-740\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b2bb466 elementor-widget elementor-widget-text-editor\" data-id=\"b2bb466\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPicard, Martin. 2008. &#8220;Video Games and Their Relationship with Other Media.&#8221; In Mark J.P. Wolf (ed.),\u00a0<em>The Video Game Explosion: A History from Pong to PlayStation and Beyond<\/em>, p.\u00a0293-300, Westport: Greenwood Press. [<a title=\"Video Games and Their Relationship with Other Media\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/PICARD%20-%20Video%20Games%20and%20Their%20Relationship%20with%20Other%20Media.pdf\" target=\"_blank\" rel=\"noopener\">pre-publication PDF<\/a>]\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9b6ee7c e-con-full e-flex e-con e-parent\" data-id=\"9b6ee7c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bb53066 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"bb53066\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/loading-logo-2.gif\" class=\"attachment-large size-large wp-image-743\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff96b1b elementor-widget elementor-widget-text-editor\" data-id=\"ff96b1b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPicard, Martin. 2007. &#8220;Machinima: Video game as an Art form?.&#8221;\u00a0<em>Loading: Journal of the Canadian Game Studies Association<\/em>, vol. 1, n\u00b0 1. [<a title=\"Machinima: Video game as an Art form?\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Martin%20Picard_Machinima%20-%20Video%20Game%20as%20an%20Art%20Form%20-%20Loading.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-1ece1be e-con-full e-flex e-con e-parent\" data-id=\"1ece1be\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3357647 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3357647\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"848\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006.jpg\" class=\"attachment-large size-large wp-image-745\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006.jpg 943w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006-283x300.jpg 283w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006-768x814.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4e6f36c elementor-widget elementor-widget-text-editor\" data-id=\"4e6f36c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard,\u00a0and\u00a0Dominic Arsenault. 2006. &#8220;L&#8217;empire vid\u00e9oludique : comment les jeux vid\u00e9o ont conquis l&#8217;univers de\u00a0<em>Star Wars<\/em>.&#8221; In Alain Boillat (ed.),\u00a0<em>D\u00e9cadrages. Dossier : Le monde de Star Wars,<\/em>\u00a0vol.8-9 (Fall), p. 98-105.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d952d06 e-con-full e-flex e-con e-parent\" data-id=\"d952d06\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fe0bc63 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"fe0bc63\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"656\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999.jpg\" class=\"attachment-large size-large wp-image-748\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999.jpg 656w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999-197x300.jpg 197w\" sizes=\"(max-width: 656px) 100vw, 656px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff3dbfb elementor-widget elementor-widget-text-editor\" data-id=\"ff3dbfb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 1999. &#8220;Un indice pour ouvrir le jeu&#8221;.\u00a0<em><a title=\"\" href=\"https:\/\/www.revue-cinemas.info\/\" target=\"\">Cin\u00e9mas<\/a><\/em>,\u00a0<em>Cin\u00e9lekta 3<\/em>, vol. 10, n\u00b0 1 (Fall), p. 95-110. [<a title=\"Un indice pour ouvrir le jeu\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Indice%20pour%20ouvrir%20le%20jeu.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingSeven\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSeven\" aria-expanded=\"false\" aria-controls=\"collapseSeven\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseSeven\" class=\"collapse in\" aria-labelledby=\"headingSeven\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>The author outlines the highly fruitful analogy between games and narrative cinema. He begins by briefly defining the constituent features of the playful activity established by narrative cinema. He then examines its principles through an analysis of Clue (Jonathan Lynn, 1985), the film adaptation of the famous board game by Parker Brothers.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dbaef68 e-con-full e-flex e-con e-parent\" data-id=\"dbaef68\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3e8fe90 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3e8fe90\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995.jpg\" class=\"attachment-large size-large wp-image-750\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995.jpg 727w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995-218x300.jpg 218w\" sizes=\"(max-width: 727px) 100vw, 727px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-184e13f elementor-widget elementor-widget-text-editor\" data-id=\"184e13f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 1995. &#8220;Une machine \u00e0 faire penser.&#8221;\u00a0<em>Iris<\/em>,\u00a0<em>La notion de genre au cin\u00e9ma<\/em>, vol. 20 (Fall), p. 76-84. [<a title=\"Une machine \u00e0 faire penser\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Iris%20-%201995.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingHeight\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseHeight\" aria-expanded=\"false\" aria-controls=\"collapseHeight\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseHeight\" class=\"collapse in\" aria-labelledby=\"headingHeight\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Barth\u00e9l\u00e9my Amengual defines genre as a \u201cthinking machine.\u201d Certainly, insofar as a genre film is seen as a prefabricated narrative that presupposes a set of conventions and expectations, it is relevant to study the perceptual and cognitive processes mobilized (consciously or unconsciously) while watching a film. Analyzing Steve Miner&#8217;s House (1986), the author shows how viewers are constantly engaged in a perceptual-cognitive cycle as they produce meaning and enjoy themselves within a film genre and narrative cinema in general. During this perceptual-cognitive cycle, the top-down mode of perception remains the most significant. Ultimately, the author emphasizes that the fundamentally playful space of genre (and of all narrative cinema) is almost always the scene of a confrontation between the director and the viewer.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d494dbe e-con-full e-flex e-con e-parent\" data-id=\"d494dbe\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-83ee34d elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"83ee34d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"666\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994.jpg\" class=\"attachment-large size-large wp-image-752\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994.jpg 666w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994-200x300.jpg 200w\" sizes=\"(max-width: 666px) 100vw, 666px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-abc529f elementor-widget elementor-widget-text-editor\" data-id=\"abc529f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 1994. &#8220;La m\u00e9moire, c&#8217;est ce qu&#8217;il me reste \u00e0 d\u00e9faut d&#8217;une vue.&#8221; <em><a title=\"\" href=\"https:\/\/www.revue-cinemas.info\/\" target=\"\">Cin\u00e9mas<\/a><\/em>,\u00a0<em>Le temps au cin\u00e9ma<\/em>, vol. 4, n\u00b0 1-2 (Fall), p. 91-103. [<a title=\"La m\u00e9moire, c'est ce qu'il me reste \u00e0 d\u00e9faut d'une vue\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinemas%20-%201994.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingNine\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseNine\" aria-expanded=\"false\" aria-controls=\"collapseNine\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseNine\" class=\"collapse in\" aria-labelledby=\"headingNine\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Here, Filmic temporality is analyzed in relation to the constraints imposed by screening time. Because a film is screened in real time, understanding the narrative requires perceptual and cognitive effort on the part of the viewer. And filmic narration takes advantage of this viewer contribution. Analyzing Jonathan Demme&#8217;s The Silence of the Lambs (1990), the author studies the mechanisms of memory, inferential processes, and the two modes of perception (bottom-up and top-down) that are activated when watching a film. He also exposes the deception that punctuates the last part of the film.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f5540b9 e-con-full e-flex e-con e-parent\" data-id=\"f5540b9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bac1dcf elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"bac1dcf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"652\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992.jpg\" class=\"attachment-large size-large wp-image-756\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992.jpg 652w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992-196x300.jpg 196w\" sizes=\"(max-width: 652px) 100vw, 652px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7fa2e46 elementor-widget elementor-widget-text-editor\" data-id=\"7fa2e46\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 1992. &#8220;Au-del\u00e0 de hors-champ : le hors-sc\u00e8ne.&#8221; <em>Communication,<\/em>\u00a0vol. 13, n\u00b0 2 (Fall), p.\u00a085-97.\u00a0Qu\u00e9bec:\u00a0Universit\u00e9 Laval, Spectateurs.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<\/p>\n<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Project Results Publications Project Project under the supervision of\u00a0Bernard Perron\u00a0(2001-2004) This research is underpinned by spectatorship-in-progress, namely the perceptual and cognitive activity performed by the viewer throughout a narrative fiction &#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1965,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-left-sidebar.php","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1966","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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