{"id":2076,"date":"2024-05-14T21:00:48","date_gmt":"2024-05-15T01:00:48","guid":{"rendered":"https:\/\/www.ludov.ca\/observation\/autres-recherches\/"},"modified":"2026-02-03T12:11:48","modified_gmt":"2026-02-03T17:11:48","slug":"other-research","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/en\/observation\/other-research\/","title":{"rendered":"Other Research"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"2076\" class=\"elementor elementor-2076 elementor-442\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2f8ee9e e-con-full observation mobnopad e-flex e-con e-parent\" data-id=\"2f8ee9e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8573cc7 collection-tabs video-game-tabs elementor-tabs-view-horizontal elementor-widget elementor-widget-tabs\" data-id=\"8573cc7\" 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-1391\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-1391\" aria-expanded=\"false\">Comics<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1392\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1392\" aria-expanded=\"false\">Film<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1393\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1393\" aria-expanded=\"false\">Digital Culture<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1394\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1394\" aria-expanded=\"false\">Play and Video Games<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1395\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"5\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1395\" aria-expanded=\"false\">Sound and Music<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1396\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"6\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1396\" aria-expanded=\"false\">Theatre<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-1397\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"7\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1397\" aria-expanded=\"false\">Reviews<\/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-1391\" aria-expanded=\"false\">Comics<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1391\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1391\" tabindex=\"0\" hidden=\"false\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5144\" class=\"elementor elementor-5144 elementor-1404 elementor-1404\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Comics<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"649\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/01\/couverture_Clive-Barker-649x1024.jpg\" class=\"attachment-large size-large wp-image-5146\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/01\/couverture_Clive-Barker-649x1024.jpg 649w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/01\/couverture_Clive-Barker-190x300.jpg 190w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/01\/couverture_Clive-Barker-768x1212.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/01\/couverture_Clive-Barker.jpg 800w\" sizes=\"(max-width: 649px) 100vw, 649px\" \/>\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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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. 2017. &#8220;Drawing (to) Fear and Horror: Into the Frame of Clive Barker\u2019s The Midnight Meat Train and Dread Comic and Film Adaptations&#8221;. In Sorcha N\u00ed Fhlainn (ed.), <em>Clive Barker: the Dark Imaginer<\/em>. Manchester: Manchester University Press.<\/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-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 affiche 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 decoding=\"async\" width=\"180\" height=\"239\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Zombies-Journal-Comics.jpg\" class=\"attachment-full size-full wp-image-1407\" 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. 2016. &#8220;Wandering the Panels, Walking Through Media: Zombies, Comic Books and the Post-apocalyptic World.&#8221; In Jan-No\u00ebl Thon and Lukas R.A. Wilde (eds.), <em>Journal of Graphic Novels and Comics:<\/em><i>\u00a0Mediality and Materiality of Contemporary Comics<\/i>, vol. 7, n\u00b0 3, p. 306-318. [<a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/21504857.2016.1199465\" 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-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" 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=\"122\" height=\"176\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Z-pour-zombies.jpg\" class=\"attachment-large size-large wp-image-1195\" 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-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" 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, Samuel Archibald and Antonio Dominguez Leiva. 2015. &#8220;Les traits et trac\u00e9s des zombies b\u00e9d\u00e9iques&#8221;. In Bernard Perron, Samuel Archibald and Antonio Dominguez Leiva (ed.), <em>Z pour Zombies<\/em>, p. 167-188. Montreal: Presses de l\u2019Universit\u00e9 de Montr\u00e9al.<\/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-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" 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\/Cinema-e-Fumetta-Cinema-and-Comics-2009.jpg\" class=\"attachment-large size-large wp-image-1061\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-e-Fumetta-Cinema-and-Comics-2009.jpg 727w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-e-Fumetta-Cinema-and-Comics-2009-218x300.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-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" 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 Pierre Chemartin. 2009. &#8220;To Switch back (and Forth): Early Cases of Alternation in Comics and Cinema.&#8221; In L. Quaresima, L.S. Sangalli and F. Zecca (eds.), <em>Cinema e Fumetto\/Cinema and Comics<\/em>, p. 115-134. Udine: Forum.<\/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-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" 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\/Cinema-e-Fumetta-Cinema-and-Comics-2009.jpg\" class=\"attachment-large size-large wp-image-1061\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-e-Fumetta-Cinema-and-Comics-2009.jpg 727w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-e-Fumetta-Cinema-and-Comics-2009-218x300.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-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" 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. 2009. &#8220;Entre bande dessin\u00e9e, cin\u00e9ma et fiction interactive : l\u2019\u00e9cran divis\u00e9 du BDVD.&#8221; In L. Quaresima, L.S. Sangalli and F. Zecca (eds.), <em>Cinema e Fumetto\/Cinema and Comics<\/em>, p. 609-626. Udine: Forum.<\/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-ef48b78 e-con-full e-flex e-con e-parent\" data-id=\"ef48b78\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a20e16c elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a20e16c\" 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=\"696\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007.jpg\" class=\"attachment-large size-large wp-image-1409\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007.jpg 696w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007-209x300.jpg 209w\" sizes=\"(max-width: 696px) 100vw, 696px\" \/>\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-6580b45 elementor-widget elementor-widget-text-editor\" data-id=\"6580b45\" 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 Pierre Chemartin. 2007. &#8220;De la vignette \u00e0 la vue et vice-versa : l\u2019alternance avant le montage altern\u00e9.&#8221; <em>Cin\u00e9ma &amp; Cie.<\/em>, n\u00b0 10 (Spring), p. 111-132.<\/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\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-1392\" aria-expanded=\"false\">Film<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1392\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1392\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5191\" class=\"elementor elementor-5191 elementor-1414 elementor-1414\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Film<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"600\" height=\"904\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Series_cultes_2014.jpg\" class=\"attachment-large size-large wp-image-1417\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Series_cultes_2014.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Series_cultes_2014-199x300.jpg 199w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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>Picard, Martin et J\u00e9r\u00e9mie Pelletier-Gagnon. 2014. &#8220;Remise en cause des mod\u00e8les et qu\u00eate de soi chez l&#8217;adolescent japonais dans Neon Genesis Evangelion.&#8221; In Jocelyn Lachance, Hugues Paris and S\u00e9bastien Dupont (eds.), <em>S\u00e9ries cultes et culte de la s\u00e9rie chez les jeunes. Penser l\u2019adolescence avec les s\u00e9ries t\u00e9l\u00e9vis\u00e9es<\/em>, p. 203-226. Qu\u00e9bec: Les Presses de l\u2019Universit\u00e9 Laval.<\/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-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 affiche 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 loading=\"lazy\" decoding=\"async\" width=\"696\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007.jpg\" class=\"attachment-full size-full wp-image-1409\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007.jpg 696w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-Cie.-No-10-2007-209x300.jpg 209w\" sizes=\"(max-width: 696px) 100vw, 696px\" \/>\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 Nicolas Dulac. 2007. &#8220;Pr\u00e9sentation.&#8221; <em>Cin\u00e9ma &amp; Cie.<\/em>, n\u00b0 10 (Spring), p. 9-15.<\/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-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" 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=\"658\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1.jpg\" class=\"attachment-large size-large wp-image-1421\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1.jpg 658w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1-197x300.jpg 197w\" sizes=\"(max-width: 658px) 100vw, 658px\" \/>\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-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" 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;Pr\u00e9sentation.&#8221; <em>Cin\u00e9mas :<\/em><i>\u00a0Cin\u00e9ma et cognition<\/i>, vol. 12, n\u00b0 2 (Winter), p. 7-14.<\/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-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" 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=\"658\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1.jpg\" class=\"attachment-large size-large wp-image-1421\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1.jpg 658w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol.-12-No-22002-1-197x300.jpg 197w\" sizes=\"(max-width: 658px) 100vw, 658px\" \/>\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-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" 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;Faire le tour de la question.&#8221; <em>Cin\u00e9mas :\u00a0<\/em><i>Cin\u00e9ma et cognition<\/i>, vol. 12, n\u00b0 2 (Winter), p. 135-157.<\/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-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" 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=\"651\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-11-Nos-2-3-2001.jpg\" class=\"attachment-large size-large wp-image-1423\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-11-Nos-2-3-2001.jpg 651w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-11-Nos-2-3-2001-195x300.jpg 195w\" sizes=\"(max-width: 651px) 100vw, 651px\" \/>\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-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" 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. 2001. &#8220;Le petit glossaire &#8216;cin\u00e9matographique&#8217; de la science cognitive.&#8221; <em>Cin\u00e9mas :\u00a0<\/em><i>Eisenstein dans le texte<\/i>, vol. 11, n\u00b0 2-3 (Spring), p. 275-290.<\/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-ef48b78 e-con-full e-flex e-con e-parent\" data-id=\"ef48b78\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a20e16c elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a20e16c\" 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=\"646\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-canadienne-detudes-cinematographiques-Vol-5-No-1-1996.jpg\" class=\"attachment-large size-large wp-image-1425\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-canadienne-detudes-cinematographiques-Vol-5-No-1-1996.jpg 646w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-canadienne-detudes-cinematographiques-Vol-5-No-1-1996-194x300.jpg 194w\" sizes=\"(max-width: 646px) 100vw, 646px\" \/>\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-6580b45 elementor-widget elementor-widget-text-editor\" data-id=\"6580b45\" 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. 1996. &#8220;Alain Cavalier : visage de style.&#8221; <em>Revue canadienne d\u2019\u00e9tudes cin\u00e9matographiques<\/em>, vol. 5, n\u00b0 1 (Spring), p. 23-34.<\/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-a305b9c e-con-full e-flex e-con e-parent\" data-id=\"a305b9c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bb95cf6 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"bb95cf6\" 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=\"906\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Etudes-litterairesVol-26-No-21993.jpg\" class=\"attachment-large size-large wp-image-1427\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Etudes-litterairesVol-26-No-21993.jpg 883w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Etudes-litterairesVol-26-No-21993-265x300.jpg 265w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Etudes-litterairesVol-26-No-21993-768x870.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-a9b5196 elementor-widget elementor-widget-text-editor\" data-id=\"a9b5196\" 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. 1993. &#8220;Focalisation: un d\u00e9tour par la sc\u00e9naristique.&#8221; <em>\u00c9tudes litt\u00e9raires :<\/em><i>\u00a0Le sc\u00e9nario de film<\/i>, vol. 26, n\u00b0 2 (Fall), p. 27-34.<\/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\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-1393\" aria-expanded=\"false\">Digital Culture<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1393\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1393\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5238\" class=\"elementor elementor-5238 elementor-1432 elementor-1432\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Digital Culture<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"686\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-686x1024.jpg\" class=\"attachment-large size-large wp-image-1269\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-686x1024.jpg 686w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-201x300.jpg 201w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-768x1146.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building.jpg 858w\" sizes=\"(max-width: 686px) 100vw, 686px\" \/>\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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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. 2017. &#8220;Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead.&#8221; In<em>\u00a0<\/em>Marta Boni (ed.), <em>World Building. Transmedia, Fans, Industries<\/em>. Amsterdam: Amsterdam University Press.<\/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-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 affiche 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 loading=\"lazy\" decoding=\"async\" width=\"649\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014.jpg\" class=\"attachment-full size-full wp-image-1047\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014.jpg 649w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014-195x300.jpg 195w\" sizes=\"(max-width: 649px) 100vw, 649px\" \/>\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 Federico Giordano (ed.). 2014. <em>The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present.<\/em> Milan:\u00a0Mimesis International.<\/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-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" 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=\"649\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014.jpg\" class=\"attachment-large size-large wp-image-1047\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014.jpg 649w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Archives-2014-195x300.jpg 195w\" sizes=\"(max-width: 649px) 100vw, 649px\" \/>\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-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" 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 Federico Giordano. 2014. &#8220;Preserving and Organizing the New Media Contents: Traditional Archive, Mobile and Living Archive or Anarchive.&#8221; <em>The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present<\/em>, Bernard Perron and Federico Giordano (eds.), p. 9-21. Milan: Mimesis International.<\/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-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" 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>Laurin, H\u00e9l\u00e8ne, and Dominic Arsenault. 2011. &#8220;La l\u00e9gitimation culturelle.&#8221; <i>Kinephanos<\/i>, vol. 2. [<a href=\"https:\/\/www.kinephanos.ca\/2011\/la-legitimation-culturelle-cultural-legitimization\/\" 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>In this issue, we examine five types of legitimisation processes. There is the legitimisation, and by extension the canonisation, of works through complex intertextual relationships; for circulating a work is, to a large extent, equivalent to inscribing it in the collective memory. One may also wish to legitimise an emerging artistic practice or form, with the help of rhetoric aimed at legitimising authorities: this was particularly the case with cinema as \u2018filmed theatre\u2019 and, a century later, with video games as \u2018interactive cinema\u2019. A third process of legitimisation may stem more from the digital revolution: the decline of \u2018legitimate\u2019 culture, which is rapidly losing ground to the proliferation of subcultures that are both more segmented and hyper-accessible. There is room for a fourth process of legitimisation rooted in the popularisation of textual figures or formal mechanisms previously reserved for marginal productions. The balance of power between the Institution and the multiple popular authorities is thus reversed, and the cultural hierarchy dissolved. The fifth process of legitimisation is one that takes place despite itself: bringing cultural artefacts together in one place, even if they have no stylistic coherence, tends towards an \u2018official\u2019 and comprehensive understanding of these artefacts.<\/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-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" 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>Picard, Martin, and Marc Joly-Corcoran. 2009. &#8220;Imageries num\u00e9riques : culture et r\u00e9ception : Pr\u00e9sentation.&#8221; <em>Kinephanos<\/em>, vol. 1, n\u00ba 1 (December). [<a title=\"\" href=\"https:\/\/www.kinephanos.ca\/2009\/imageries-numeriques-culture-et-reception-digital-imageries-culture-and-reception\/\" 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\t\t<\/div>\n\t\t<\/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=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1394\" aria-expanded=\"false\">Play and Video Games<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1394\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1394\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5286\" class=\"elementor elementor-5286 elementor-1445 elementor-1445\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Video Games<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"600\" height=\"898\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Arsenault-Lessard-Monde-profane.jpg\" class=\"attachment-large size-large wp-image-1448\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Arsenault-Lessard-Monde-profane.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Arsenault-Lessard-Monde-profane-200x300.jpg 200w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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 Jonathan Lessard. 2018. &#8220;Introduction \u00e0 la section 3 : histoire et jeux vid\u00e9o : construction, strat\u00e9gie et aventure.&#8221; In Marc-Andr\u00e9 \u00c9thier, David Lefran\u00e7ois and Alexandre Joly-Lavoie (eds.), <i>Mondes profanes: Enseignement, fiction et histoire<\/i>. Qu\u00e9bec: Presses de l\u2019Universit\u00e9 Laval. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Arsenault_Lessard_Mondes_profanes_intro.pdf\" target=\"\">Pre-publication 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-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 affiche 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 loading=\"lazy\" decoding=\"async\" width=\"805\" height=\"144\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-full size-full wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.jpg 768w\" sizes=\"(max-width: 805px) 100vw, 805px\" \/>\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>Vollans, Ed, Stephanie Janes, Carl Therrien et Dominic Arsenault (eds.). 2017. <i>&#8220;&#8216;<\/i>It\u2019s [not just] in the game&#8217;: the promotional context of video games \/ le contexte promotionnel des jeux vid\u00e9o.&#8221; <i>Kinephanos,\u00a0<\/i>vol. 7, n\u00b0 1 (November). [<a title=\"\" href=\"https:\/\/www.kinephanos.ca\/2017\/its-not-just-in-the-game-the-promotional-context-of-video-games-le-contexte-promotionnel-des-jeux-video\/\" 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-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" 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=\"500\" height=\"714\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind.jpg\" class=\"attachment-large size-large wp-image-1450\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind.jpg 500w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind-210x300.jpg 210w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/>\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-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" 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 Felix Schr\u00f6ter. 2016. &#8220;Introduction: Video Games, Cognition, Affect and Emotion.&#8221; In Bernard Perron and Felix Schr\u00f6ter (eds.), <em>Video Games and the Mind. Essays on Cognition, Affect and Emotion<\/em>, p. 1-13. Jefferson: McFarland.<\/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-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" 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=\"500\" height=\"714\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind.jpg\" class=\"attachment-large size-large wp-image-1450\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind.jpg 500w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Video-Games-and-Mind-210x300.jpg 210w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/>\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-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" 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. 2016. &#8220;Emotions in Video Games: Are You Concerned?.&#8221; In Bernard Perron and Felix Schr\u00f6ter (ed.), <em>Video Games and the Mind. Essays on Cognition, Affect and Emotion<\/em>, p. 189-209<em>.<\/em> Jefferson:\u00a0McFarland.<\/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-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" 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=\"471\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Implications_Philosophiques.jpg\" class=\"attachment-large size-large wp-image-1453\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Implications_Philosophiques.jpg 471w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Implications_Philosophiques-300x64.jpg 300w\" sizes=\"(max-width: 471px) 100vw, 471px\" \/>\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-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" 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 Maude Bonenfant. 2016. &#8220;Dire, faire et \u00eatre par les jeux vid\u00e9o : L&#8217;\u00e9thique et la performativit\u00e9 au prisme des rh\u00e9toriques proc\u00e9durale et processuelle.&#8221; <i>Implications philosophiques<\/i>, (July-August). [<a title=\"\" href=\"https:\/\/www.implications-philosophiques.org\/dire-faire-etre-ethique-performativite-et-rhetoriques-procedurale-et-processuelle-dans-les-jeux-video\/\" 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-9b3724b e-con-full e-flex e-con e-parent\" data-id=\"9b3724b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5dc84f0 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"5dc84f0\" 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=\"600\" height=\"110\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg\" class=\"attachment-large size-large wp-image-1455\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu-300x55.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-a90a86d elementor-widget elementor-widget-text-editor\" data-id=\"a90a86d\" 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 Benoit Melan\u00e7on. 2016. &#8220;L&#8217;art en jeu ou le jeu de l&#8217;art.&#8221; <em>Sciences du jeu<\/em>, n\u00b0 6. [<a title=\"\" href=\"https:\/\/journals.openedition.org\/sdj\/669\" 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-f649bd4 e-con-full e-flex e-con e-parent\" data-id=\"f649bd4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-73ea46f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"73ea46f\" 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=\"600\" height=\"110\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg\" class=\"attachment-large size-large wp-image-1455\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu-300x55.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-89f1801 elementor-widget elementor-widget-text-editor\" data-id=\"89f1801\" 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>Dor, Simon. 2016. &#8220;Rejouer le m\u00eame r\u00e9cit dans diff\u00e9rentes adaptations ludiques de l\u2019univers de J.R.R. Tolkien.&#8221; <em>Sciences du jeu<\/em>, n\u00b0 5. [<a href=\"https:\/\/sdj.revues.org\/575\" 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-398007d e-con-full e-flex e-con e-parent\" data-id=\"398007d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9385086 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9385086\" 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=\"153\" height=\"232\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Interactive-Storytelling.jpg\" class=\"attachment-large size-large wp-image-1457\" 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-feaf16a elementor-widget elementor-widget-text-editor\" data-id=\"feaf16a\" 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 Jonathan Lessard. 2016. &#8220;The Character as Subjective Interface.&#8221; Conference proceedings for &#8220;The Ninth International Conference on Interactive Digital Storytelling (ICIDS),&#8221; Los Angeles: University of Southern California. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Arsenault_Lessard_2016_The_Character_as_Subjective_Interface.pdf\" target=\"\">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-e4b8f22 e-con-full e-flex e-con e-parent\" data-id=\"e4b8f22\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b42adeb elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b42adeb\" 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=\"220\" height=\"276\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/MITPress-empty.png\" class=\"attachment-large size-large wp-image-1459\" 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-70e4664 elementor-widget elementor-widget-text-editor\" data-id=\"70e4664\" 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 Louis-Martin Guay. 2015. &#8220;Canada.&#8221; In Mark J. P. Wolf (ed.), <em>Video Games Around the World<\/em>, p. 105-118. Boston: The MIT Press.<\/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>Canada is widely regarded as a subset of the US market, with differences in sales patterns between the two countries \u201cnot of a serious magnitude\u201d. Canada\u2019s 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.<\/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-1bde037 e-con-full e-flex e-con e-parent\" data-id=\"1bde037\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-496ef47 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"496ef47\" 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=\"488\" height=\"128\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/GAME-2014.jpg\" class=\"attachment-large size-large wp-image-1461\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/GAME-2014.jpg 488w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/GAME-2014-300x79.jpg 300w\" sizes=\"(max-width: 488px) 100vw, 488px\" \/>\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-d97c491 elementor-widget elementor-widget-text-editor\" data-id=\"d97c491\" 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 Bernard Perron. 2015. &#8220;De-Framing Video Games from the Light of Cinema.&#8221; <em>G|A|M|E: The Italian Journal of Game Studies<\/em>, n\u00b0\u00a04. [<a title=\"\" href=\"https:\/\/www.gamejournal.it\/arsenault_perron_deframing\/#.Vigm7yu2orh\" target=\"\">Online<\/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 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\u2019s 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.<\/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-65addb6 e-con-full e-flex e-con e-parent\" data-id=\"65addb6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a29b645 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a29b645\" 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=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Rated_M_for_Mature_2015-683x1024.jpg\" class=\"attachment-large size-large wp-image-1470\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Rated_M_for_Mature_2015-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Rated_M_for_Mature_2015-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Rated_M_for_Mature_2015-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Rated_M_for_Mature_2015.jpg 900w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\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-3ee4f7f elementor-widget elementor-widget-text-editor\" data-id=\"3ee4f7f\" 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>Picard, Martin, and J\u00e9r\u00e9mie Pelletier-Gagnon. 2015. &#8220;Beyond <em>Rapelay<\/em>: Self-regulation in the Japanese Erotic Video Game Industry.&#8221; In Matthew Wysocki and Evan W. Lauteria (eds.), <em>Rated M for Mature: Sex and Sexuality in Video Games<\/em>, p. 28-41. London: Bloomsbury.<\/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-af08e68 e-con-full e-flex e-con e-parent\" data-id=\"af08e68\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-133b48d elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"133b48d\" 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=\"280\" height=\"428\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-13-2015.jpg\" class=\"attachment-large size-large wp-image-1472\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-13-2015.jpg 280w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-13-2015-196x300.jpg 196w\" sizes=\"(max-width: 280px) 100vw, 280px\" \/>\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-25adbf3 elementor-widget elementor-widget-text-editor\" data-id=\"25adbf3\" 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>Dor, Simon. 2015. &#8220;Identit\u00e9(s) du joueur et du personnage. Au-del\u00e0 de l\u2019analyse mim\u00e9tique des jeux vid\u00e9o.&#8221; In Charles Perraton and Maude Bonenfant (eds.), <em>Identit\u00e9 et multiplicit\u00e9 en ligne<\/em>, p. 67-86. Montr\u00e9al: Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/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-60abab4 e-con-full e-flex e-con e-parent\" data-id=\"60abab4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3730244 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3730244\" 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=\"354\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg\" class=\"attachment-large size-large wp-image-1297\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg 354w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/>\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-bcff79d elementor-widget elementor-widget-text-editor\" data-id=\"bcff79d\" 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 Mark J.P. Wolf (eds.). 2014. <em>The Routledge Companion to Video Game Studies.<\/em> New York:\u00a0Routledge.<\/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-ff9a807 e-con-full e-flex e-con e-parent\" data-id=\"ff9a807\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1213dcb elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1213dcb\" 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=\"354\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg\" class=\"attachment-large size-large wp-image-1297\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg 354w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/>\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-8e8988c elementor-widget elementor-widget-text-editor\" data-id=\"8e8988c\" 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. 2014. &#8220;Narratology.&#8221; In Mark J.P. Wolf and B. Perron (eds.), <em>The Routledge Companion to Video Game Studies<\/em>, p.475-483. New York: Routledge.<\/p><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><div id=\"collapseSix\" class=\"collapse in\" aria-labelledby=\"headingSix\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>This chapter provides an overview of the overlap \u201cbetween games and stories\u201d, 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.<\/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-da3e04b e-con-full e-flex e-con e-parent\" data-id=\"da3e04b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-df8de61 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"df8de61\" 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=\"354\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg\" class=\"attachment-large size-large wp-image-1297\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg 354w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/>\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-9dc48b3 elementor-widget elementor-widget-text-editor\" data-id=\"9dc48b3\" 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>Picard, Martin. 2014. &#8220;Levels.&#8221; In Bernard Perron and Mark J.P. Wolf (eds.), <em>The Routledge Companion of Video Game Studies<\/em>, p. 99-105<em>.\u00a0<\/em>New York: Routledge.<\/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-d23cd89 e-con-full e-flex e-con e-parent\" data-id=\"d23cd89\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-adaef4f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"adaef4f\" 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=\"354\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg\" class=\"attachment-large size-large wp-image-1297\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg 354w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/>\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-a5d3f5b elementor-widget elementor-widget-text-editor\" data-id=\"a5d3f5b\" 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>Dor, Simon. 2014. &#8220;Emulation.&#8221; In Mark J.P. Wolf and Bernard Perron (eds.), <em>Routledge Companion to Video Game Studies<\/em>, p. 25-31. New York: Routledge.<\/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-c81b5dc e-con-full e-flex e-con e-parent\" data-id=\"c81b5dc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5ebc403 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"5ebc403\" 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=\"354\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg\" class=\"attachment-large size-large wp-image-1297\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies.jpg 354w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Routledge-Companion-to-Game-Studies-212x300.jpg 212w\" sizes=\"(max-width: 354px) 100vw, 354px\" \/>\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-2ad8b17 elementor-widget elementor-widget-text-editor\" data-id=\"2ad8b17\" 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>Dor, Simon. 2014. &#8220;Strategy.&#8221; In Mark J.P. Wolf and Bernard Perron (eds.), <em>Routledge Companion to Video Game Studies<\/em>, p. 275-281. New York: Routledge.<\/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-e4b4879 e-con-full e-flex e-con e-parent\" data-id=\"e4b4879\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-891b255 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"891b255\" 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=\"120\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/gamestudies_thumbnail.jpg\" class=\"attachment-large size-large wp-image-1312\" 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-64f9721 elementor-widget elementor-widget-text-editor\" data-id=\"64f9721\" 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>Dor, Simon. 2014. &#8220;The Heuristic Circle of Real-Time Strategy Process: A <i>StarCraft: Brood War<\/i> Case Study.&#8221; <em>Game Studies<\/em>, vol. 14, n\u00b0 1 (August). [<a title=\"\" href=\"http:\/\/gamestudies.org\/1401\/articles\/dor\" 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-384cfcd e-con-full e-flex e-con e-parent\" data-id=\"384cfcd\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b501205 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b501205\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-9f6d182 elementor-widget elementor-widget-text-editor\" data-id=\"9f6d182\" 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>Dor, Simon. 2014. &#8220;A History of Real-Time Strategy Gameplay From Decryption to Prediction: Introducing the Actional Statement.&#8221; <em>Kinephanos<\/em>, special issue (January), p. 58-73. [<a href=\"https:\/\/www.kinephanos.ca\/2014\/real-time-strategy\/\" 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-ae74052 e-con-full e-flex e-con e-parent\" data-id=\"ae74052\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bdc062b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"bdc062b\" 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=\"600\" height=\"110\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg\" class=\"attachment-large size-large wp-image-1455\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu-300x55.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-389f685 elementor-widget elementor-widget-text-editor\" data-id=\"389f685\" 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 Gilles Broug\u00e8re. 2013. &#8220;Editorial : Pour une &#8216;French Touch&#8217; des \u00e9tudes sur le jeu.&#8221;\u00a0 <em>Sciences du jeu<\/em>, n\u00b0 1 (Fall).\u00a0 [<a href=\"https:\/\/sdj.revues.org\/197\" 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-9885cdf e-con-full e-flex e-con e-parent\" data-id=\"9885cdf\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6a81855 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6a81855\" 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=\"600\" height=\"110\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg\" class=\"attachment-large size-large wp-image-1455\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Sciences-du-jeu-300x55.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\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-729b130 elementor-widget elementor-widget-text-editor\" data-id=\"729b130\" 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. 2013. &#8220;L\u2019attitude de Jacques Henriot.&#8221; <em>Sciences du jeu<\/em>, n\u00b0 1 (Fall).\u00a0 [<a href=\"https:\/\/sdj.revues.org\/216\" 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-921a7b0 e-con-full e-flex e-con e-parent\" data-id=\"921a7b0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6e07030 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6e07030\" 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=\"993\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Avatars-personnages-et-acteurs-virtuels-Therrien-2013-1-825x1024.jpg\" class=\"attachment-large size-large wp-image-1475\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Avatars-personnages-et-acteurs-virtuels-Therrien-2013-1-825x1024.jpg 825w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Avatars-personnages-et-acteurs-virtuels-Therrien-2013-1-242x300.jpg 242w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Avatars-personnages-et-acteurs-virtuels-Therrien-2013-1-768x953.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Avatars-personnages-et-acteurs-virtuels-Therrien-2013-1.jpg 1044w\" 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-5d3aef4 elementor-widget elementor-widget-text-editor\" data-id=\"5d3aef4\" 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. 2013. &#8220;Qui est \u2018je\u2019? Autour de quelques strat\u00e9gies vid\u00e9oludiques de design de personnage pour g\u00e9rer l\u2019actantialit\u00e9 ludo-narrative du joueur et son immersion fictionnelle.&#8221; In R. Bourassa and L. Poissant (eds.), <i>Avatars, personnages et acteurs virtuels<\/i>, p. 249-272. Qu\u00e9bec: Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/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>Cet article s\u2019int\u00e9resse au r\u00f4le central jou\u00e9 par le personnage dans la r\u00e9conciliation de la narrativit\u00e9 et de l\u2019interactivit\u00e9 \u00e0 travers une \u00e9tude th\u00e9orique et critique de quelques strat\u00e9gies employ\u00e9es par les concepteurs pour r\u00e9aliser une fusion identitaire du joueur avec le personnage. Il y est question de deux postures d\u2019immersion fictionnelle identifi\u00e9es par Jean-Marie Schaeffer : l\u2019identification allosubjective et la virtualisation identitaire. Ces postures sont li\u00e9es \u00e0 des processus de design de personnage : l\u2019approche avatorielle, centr\u00e9e sur le concept d\u2019avatar et qui tente d\u2019aplanir les diff\u00e9rences intersubjectives, et l\u2019approche actorielle, qui au contraire vise \u00e0 les accro\u00eetre en faisant du personnage un acteur autonome plut\u00f4t qu\u2019un avatar. Ces deux pratiques ne sont pas mutuellement exclusives; au contraire, il est d\u00e9montr\u00e9 que pour r\u00e9aliser l\u2019immersion fictionnelle, la plupart des jeux tentent de conserver une trace du joueur dans l\u2019avatar, et une trace du personnage dans l\u2019acteur. Des marqueurs d\u2019allosubjectivit\u00e9 et de subjectivisation sont identifi\u00e9s par l\u2019analyse des jeux Metroid Prime, Duke Nukem 3D, Gears of War et Shadowrun. Enfin, l\u2019article \u00e9tudie \u00e9galement les rapports entre le ludique et le narratif selon le r\u00f4le actantiel du joueur et du personnage, \u00e9corchant au passage la convention du \u00ab h\u00e9ros muet \u00bb (silent protagonist) souvent rencontr\u00e9e dans le jeu vid\u00e9o mais ultimement improductive.<\/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-396bb03 e-con-full e-flex e-con e-parent\" data-id=\"396bb03\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7409cb6 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"7409cb6\" 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=\"120\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/gamestudies_thumbnail.jpg\" class=\"attachment-large size-large wp-image-1312\" 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-8f6d118 elementor-widget elementor-widget-text-editor\" data-id=\"8f6d118\" 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>Picard, Martin. 2013. &#8220;The Foundation of Geemu: A Brief History of Japanese Video Games.&#8221; <em>Game Studies: the international journal of computer game research<\/em>, vol. 13, n\u00ba 1 (Decembre). [<a title=\"\" href=\"http:\/\/gamestudies.org\/1302\/articles\/picard\" 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-0c09f6e e-con-full e-flex e-con e-parent\" data-id=\"0c09f6e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a49bb4d elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a49bb4d\" 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-db65dce elementor-widget elementor-widget-text-editor\" data-id=\"db65dce\" 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 \u2018l\u2019envie cin\u00e9matographique\u2019 : le complexe transm\u00e9diatique d\u2019Assassin\u2019s Creed.&#8221; <em>Nouvelles vues : revue sur les pratiques et les th\u00e9ories du cin\u00e9ma au Qu\u00e9bec<\/em>, n\u00b013 (Winter-Spring). [<a title=\"\" 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\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingeight\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseeight\" aria-expanded=\"false\" aria-controls=\"collapseeight\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseeight\" class=\"collapse in\" aria-labelledby=\"headingeight\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Nous proposons d&#8217;aborder dans cet article la question des rapports entre le jeu vid\u00e9o et le cin\u00e9ma \u00e0 travers une \u00e9tude de cas sp\u00e9cifique : la franchise Assassin&#8217;s Creed, qui s&#8217;inscrit dans un contexte techno-historico-culturel bien pr\u00e9cis : celui des technologies de l&#8217;image num\u00e9rique au Qu\u00e9bec. Plus particuli\u00e8rement, nous nous questionnerons sur le r\u00f4le que joue la trilogie de courts m\u00e9trages Assassin&#8217;s Creed: Lineage, r\u00e9alis\u00e9s par Yves Simoneau et Hybride Technologies, et diffus\u00e9s gratuitement sur YouTube dans le but d&#8217;attiser l&#8217;int\u00e9r\u00eat des joueurs avant la sortie du jeu Assassin&#8217;s Creed II. De toutes les d\u00e9clinaisons m\u00e9diatiques de la franchise Assassin&#8217;s Creed \u00e0 ce jour, c&#8217;est elle qui incarne le mieux la convergence technologique entre le cin\u00e9ma et le jeu vid\u00e9o, mais aussi notre mod\u00e8le original de constellation transm\u00e9diatique. Loin d&#8217;agir comme de simples outils promotionnels, les films capitalisent sur les forces du cin\u00e9ma et contribuent au d\u00e9ploiement de la franchise, mais non sans heurts. Du g\u00e9n\u00e9ral au particulier, nous nous int\u00e9resserons d&#8217;abord \u00e0 la relation entre ces deux arts, que l&#8217;on peut envisager sous deux paradigmes : celui de la rem\u00e9diatisation et celui de la transm\u00e9dialit\u00e9; puis, nous traiterons du cas Assassin&#8217;s Creed comme \u00e9tant la plus r\u00e9cente incarnation des rapports de croisement et de tension entre le cin\u00e9ma et le jeu vid\u00e9o. Nous montrerons comment le mod\u00e8le transm\u00e9diatique s&#8217;inscrit dans le prolongement des questionnements portant sur la rem\u00e9diatisation, puis comment il \u00e9claire et met \u00e0 contribution les sp\u00e9cificit\u00e9s qui distinguent le cin\u00e9ma et le jeu vid\u00e9o comme les points communs qui les rassemblent.<\/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-6612956 e-con-full e-flex e-con e-parent\" data-id=\"6612956\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-aa1c7de elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"aa1c7de\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-aa7c04c elementor-widget elementor-widget-text-editor\" data-id=\"aa7c04c\" 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. 2012. &#8220;Nintendo Entertainment System.&#8221; In Mark J.P. Wolf (ed.), <em>The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 2, p. 449-456. Santa Barbara: ABC-Clio Press.\u00a0<\/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-8cb3073 e-con-full e-flex e-con e-parent\" data-id=\"8cb3073\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-cc07386 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"cc07386\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-e631ef4 elementor-widget elementor-widget-text-editor\" data-id=\"e631ef4\" 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. 2012. &#8220;Super Nintendo Entertainment System.&#8221; In Mark J.P. Wolf (ed.), <em>The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 2, p. 634-636. Santa Barbara: ABC-Clio Press.\u00a0<\/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-5150cc8 e-con-full e-flex e-con e-parent\" data-id=\"5150cc8\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3bca713 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3bca713\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-5b6b352 elementor-widget elementor-widget-text-editor\" data-id=\"5b6b352\" 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. 2012. &#8220;Roger Caillois,&#8221; Joahn Huizinga&#8221; and &#8220;Magic Circle.&#8221; In Mark J.P. Wolf (ed.), <em>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1, p. 85-87, 305-307 and 369-370. Westport: Greenwood Press.<\/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-1e04af3 e-con-full e-flex e-con e-parent\" data-id=\"1e04af3\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-d455c0f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"d455c0f\" 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=\"300\" height=\"450\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg\" class=\"attachment-large size-large wp-image-1138\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\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-1007e9b elementor-widget elementor-widget-text-editor\" data-id=\"1007e9b\" 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 Maude Bonenfant. 2012. &#8220;Poiesis and Imagination in the Aesthetic Experience: The Moment of Grace in Computer Game Play.&#8221; Conference proceedings for &#8220;The Philosophy of Computer Games 2012.&#8221; [<a href=\"https:\/\/www.scribd.com\/doc\/86566804\/Poiesis-and-Imagination-in-the-Aesthetic-Experience-The-Moment-of-Grace-in-Computer-Game-Play\" target=\"_blank\" rel=\"noopener\">Online<\/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>+ Leanr 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>What is the nature of a computer game player\u2019s 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 (aisth\u00eatikos), 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\u2019s 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).<\/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-a13d666 e-con-full e-flex e-con e-parent\" data-id=\"a13d666\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c75c5bc elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c75c5bc\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-027fc4c elementor-widget elementor-widget-text-editor\" data-id=\"027fc4c\" 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>Picard, Martin. 2012. &#8220;Art,&#8221; &#8220;I, Robot,&#8221; Japan.&#8221; In Mark J.P. Wolf (ed.), <em>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1, p. 38-39, 307-308 and 334-337. Wesport: Greenwood Press.<\/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-2343765 e-con-full e-flex e-con e-parent\" data-id=\"2343765\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b676493 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b676493\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-bfc5d65 elementor-widget elementor-widget-text-editor\" data-id=\"bfc5d65\" 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>Roux-Girard, Guillaume. 2012 <em>&#8220;Metal Gear<\/em> Series.&#8221; In Mark J.P. Wolf (ed.), <em>Encyclopedia of Video Games<\/em>, vol. 2, p. 395-398. Santa Barbara: ABC-Clio Press.<\/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-1c3336b e-con-full e-flex e-con e-parent\" data-id=\"1c3336b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0dbad3d elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"0dbad3d\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-b5b20b4 elementor-widget elementor-widget-text-editor\" data-id=\"b5b20b4\" 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>Dor, Simon. 2012. &#8220;Cartridges,&#8221; Emulators,&#8221; &#8220;MAME,&#8221; &#8220;<em>StarCraft<\/em>.&#8221; In Mark J.P. Wolf (ed.),<em>\u00a0Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1 et 2, p. 92-93, 192-194, 423-425 amd 624-626. Westport : Greenwood Press and Santa Barbara: ABC-Clio Press.<\/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-01fb4e6 e-con-full e-flex e-con e-parent\" data-id=\"01fb4e6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a27b2d0 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a27b2d0\" 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=\"280\" height=\"426\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-11-2011.jpg\" class=\"attachment-large size-large wp-image-1483\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-11-2011.jpg 280w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-11-2011-197x300.jpg 197w\" sizes=\"(max-width: 280px) 100vw, 280px\" \/>\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-51df1de elementor-widget elementor-widget-text-editor\" data-id=\"51df1de\" 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>Dor, Simon. 2011. &#8220;De la strat\u00e9gie et de la tactique. La ruse dans les jeux de strat\u00e9gie en temps r\u00e9el.&#8221; In Charles Perraton and Maude Bonenfant (eds.), <em>La ruse. Entre la r\u00e8gle et la triche<\/em>, p. 113-130. Montr\u00e9al: Presses de l\u2019Universit\u00e9 du Qu\u00e9bec.<\/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-22f1f93 e-con-full e-flex e-con e-parent\" data-id=\"22f1f93\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-322d43f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"322d43f\" 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=\"226\" height=\"346\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/question-communication.jpg\" class=\"attachment-large size-large wp-image-1485\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/question-communication.jpg 226w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/question-communication-196x300.jpg 196w\" sizes=\"(max-width: 226px) 100vw, 226px\" \/>\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-0791d42 elementor-widget elementor-widget-text-editor\" data-id=\"0791d42\" 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. 2010. &#8220;Le lecteur de th\u00e9orie du jeu vid\u00e9o.&#8221; In S. Craipeau, S. Genvo., B. Simonnot (ed.), <em>Questions de communication :<\/em><i>\u00a0Les jeux vid\u00e9o au croisement du social, de l&#8217;art et de la culture<\/i>, p.15-26. Nancy: Presses Universitaires de Nancy.<\/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-37ca75f e-con-full e-flex e-con e-parent\" data-id=\"37ca75f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ae6c6a3 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"ae6c6a3\" 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=\"587\" height=\"826\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark.jpg\" class=\"attachment-large size-large wp-image-1271\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark.jpg 587w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark-213x300.jpg 213w\" sizes=\"(max-width: 587px) 100vw, 587px\" \/>\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-df5b1c8 elementor-widget elementor-widget-text-editor\" data-id=\"df5b1c8\" 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. 2010. &#8220;Introduction \u00e0 la pragmatique des effets g\u00e9n\u00e9riques : l\u2019horreur dans tous ses \u00e9tats.&#8221; <em>Loading&#8230;Journal of the Canadian Game Studies Association<\/em>, vol. 4, no 6. [<a title=\"\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/article\/view\/87\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingTen\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseTen\" aria-expanded=\"false\" aria-controls=\"collapseTen\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseTen\" class=\"collapse in\" aria-labelledby=\"headingTen\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Cet article pose les jalons d&#8217;une nouvelle approche th\u00e9orique de la question du genre, la pragmatique des effets g\u00e9n\u00e9riques. Dans ce cadre, le genre s&#8217;exprime dans des effets g\u00e9n\u00e9riques qui se manifestent ponctuellement \u00e0 travers la s\u00e9quence s\u00e9miotique d&#8217;un objet culturel, que le lecteur\/spectateur\/joueur peut reconna\u00eetre et qui modulent \u00e0 la fois son horizon d&#8217;attentes et sa compr\u00e9hension cognitive de l&#8217;objet. La pertinence et les ramifications de cette approche sont d\u00e9montr\u00e9es \u00e0 l&#8217;aide d&#8217;une \u00e9tude de cas qui porte sur le genre vid\u00e9oludique du survival horror. Celui-ci est d\u00e9construit en ses deux composantes, soit le genre th\u00e9matique de l&#8217;horreur et le genre ludique du survival. Chacun est \u00e9tudi\u00e9 \u00e0 travers deux jeux, Resident Evil et Diablo, respectivement embl\u00e9matique et \u00e9tranger au genre.<\/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-bebc794 e-con-full e-flex e-con e-parent\" data-id=\"bebc794\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-26f1e0d elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"26f1e0d\" 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=\"431\" height=\"648\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg\" class=\"attachment-large size-large wp-image-1384\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg 431w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009-200x300.jpg 200w\" sizes=\"(max-width: 431px) 100vw, 431px\" \/>\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-e8e16ee elementor-widget elementor-widget-text-editor\" data-id=\"e8e16ee\" 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 Mark J.P. Wolf (eds.). 2009. <em>The Video Game Theory Reader 2<\/em>, New York: Routledge.<\/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-16ec0b0 e-con-full e-flex e-con e-parent\" data-id=\"16ec0b0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-edd4a4c elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"edd4a4c\" 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=\"431\" height=\"648\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg\" class=\"attachment-large size-large wp-image-1384\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg 431w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009-200x300.jpg 200w\" sizes=\"(max-width: 431px) 100vw, 431px\" \/>\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-1bc091c elementor-widget elementor-widget-text-editor\" data-id=\"1bc091c\" 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 Bernard Perron. 2009. &#8220;In the Frame of the Magic Cycle: The Circle(s) of Gameplay.&#8221; In Bernard Perron et Mark J. P. Wolf (eds.), <em>The Video Game Theory Reader 2<\/em>, p. 109-131. New York: Routledge.<\/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-050013d e-con-full e-flex e-con e-parent\" data-id=\"050013d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-56e9194 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"56e9194\" 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=\"431\" height=\"648\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg\" class=\"attachment-large size-large wp-image-1384\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg 431w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009-200x300.jpg 200w\" sizes=\"(max-width: 431px) 100vw, 431px\" \/>\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-fda8595 elementor-widget elementor-widget-text-editor\" data-id=\"fda8595\" 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 Mark J.P. Wolf. 2009. &#8220;Introduction.&#8221; In Bernard Perron and Mark J.P. Wolf (eds.), <em>The Video Game Theory Reader 2<\/em>, p. 1-21. New York: Routledge.<\/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-4a4a478 e-con-full e-flex e-con e-parent\" data-id=\"4a4a478\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e4be81b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e4be81b\" 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=\"431\" height=\"648\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg\" class=\"attachment-large size-large wp-image-1384\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg 431w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009-200x300.jpg 200w\" sizes=\"(max-width: 431px) 100vw, 431px\" \/>\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-a9121e0 elementor-widget elementor-widget-text-editor\" data-id=\"a9121e0\" 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 Mark J.P Wolf. 2009. &#8220;Appendix \u2013 Video Games Through Theories and Discipline: Medecine.&#8221; In Bernard Perron and Mark J.P. Wolf, <em>The Video Game Theory Reader 2<\/em>, p. 306-307. New York: Routledge.<\/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-1aa2d9b e-con-full e-flex e-con e-parent\" data-id=\"1aa2d9b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3c2b33b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3c2b33b\" 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=\"393\" height=\"600\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg\" class=\"attachment-large size-large wp-image-1091\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg 393w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003-197x300.jpg 197w\" sizes=\"(max-width: 393px) 100vw, 393px\" \/>\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-a590ab0 elementor-widget elementor-widget-text-editor\" data-id=\"a590ab0\" 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>Picard, Martin. 2009. &#8220;Art\/Aesthetics in Video Games.&#8221; In Bernard Perron and Mark J.P. Wolf (eds.), <em>The Video Game Theory Reader<\/em>, p. 333-334. New York: Routledge.<\/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-fb897ff e-con-full e-flex e-con e-parent\" data-id=\"fb897ff\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f46e255 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"f46e255\" 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=\"431\" height=\"648\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg\" class=\"attachment-large size-large wp-image-1384\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009.jpg 431w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-2-2009-200x300.jpg 200w\" sizes=\"(max-width: 431px) 100vw, 431px\" \/>\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-e5dfe3d elementor-widget elementor-widget-text-editor\" data-id=\"e5dfe3d\" 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>Roux-Girard, Guillaume. 2009. &#8220;Film Studies.&#8221; In Bernard Perron and Mark J. P. Wolf (eds.), <em>The Video Game Theory Reader 2<\/em>, p. 349-350. New York: Routledge.<\/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-f4f848d e-con-full e-flex e-con e-parent\" data-id=\"f4f848d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0b37747 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"0b37747\" 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=\"159\" height=\"233\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Narration-in-the-video-game.jpg\" class=\"attachment-large size-large wp-image-1489\" 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-2d1123a elementor-widget elementor-widget-text-editor\" data-id=\"2d1123a\" 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. 2008.\u00a0<em>Narration in the Video Game. An Apologia of Interactive Storytelling, and an Apology to Cut-Scene Lovers<\/em>. Saarbr\u00fccken: VDM Verlag.<\/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-124e889 e-con-full e-flex e-con e-parent\" data-id=\"124e889\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-097c126 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"097c126\" 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-2008-2.jpg\" class=\"attachment-large size-large wp-image-1079\" 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-039c5e3 elementor-widget elementor-widget-text-editor\" data-id=\"039c5e3\" 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. 2007. &#8220;Company Profile: Nintendo.&#8221; Mark J. P. Wolf (ed.), <em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p.113-114. Westport: Greenwood Press.<\/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-543dba9 e-con-full e-flex e-con e-parent\" data-id=\"543dba9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c49f783 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c49f783\" 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-2008-2.jpg\" class=\"attachment-large size-large wp-image-1079\" 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-9e9ca21 elementor-widget elementor-widget-text-editor\" data-id=\"9e9ca21\" 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. 2007. &#8220;System Profile: The Nintendo Entertainment System.&#8221; In Mark J. P. Wolf (ed.), <em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p.109-114. Westport: Greenwood Press.<\/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-827d662 e-con-full e-flex e-con e-parent\" data-id=\"827d662\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-25b30b5 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"25b30b5\" 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-2008-2.jpg\" class=\"attachment-large size-large wp-image-1079\" 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-d460dee elementor-widget elementor-widget-text-editor\" data-id=\"d460dee\" 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\tArsenault, Dominic. 2007. &#8220;System Profile: Sony PlayStation.&#8221; In Mark J. P. Wolf (ed.), <\/span><em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p.177-182. Westport: Greenwood Press.\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-a64dca0 e-con-full e-flex e-con e-parent\" data-id=\"a64dca0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b6de56c elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b6de56c\" 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-2008-2.jpg\" class=\"attachment-large size-large wp-image-1079\" 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-8b7a873 elementor-widget elementor-widget-text-editor\" data-id=\"8b7a873\" 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. 2007. &#8220;The Video Game as an Object of Controversy.&#8221; In Mark J. P. Wolf (ed.), <em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p. 277-281. Westport: Greenwood Press.<\/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-4b7b8ac e-con-full e-flex e-con e-parent\" data-id=\"4b7b8ac\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-02094c6 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"02094c6\" 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=\"300\" height=\"450\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg\" class=\"attachment-large size-large wp-image-1138\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\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-7f2fae6 elementor-widget elementor-widget-text-editor\" data-id=\"7f2fae6\" 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 Martin Picard. 2007. &#8220;Le jeu vid\u00e9o entre d\u00e9pendance et plaisir immersif : les trois formes d\u2019immersion vid\u00e9oludique.&#8221; <em>Le jeu vid\u00e9o: un ph\u00e9nom\u00e8ne social massivement pratiqu\u00e9?<\/em>. Conference proceedings for &#8220;75i\u00e8me congr\u00e8s de l&#8217;ACFAS,&#8221; Universit\u00e9 du Qu\u00e9bec \u00c0 Trois-Rivi\u00e8res. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/arsenault-picard-le-jeu-video-entre-dependance-et-plaisir-immersif_0.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-12e72ac e-con-full e-flex e-con e-parent\" data-id=\"12e72ac\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f9db827 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"f9db827\" 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-021aabd elementor-widget elementor-widget-text-editor\" data-id=\"021aabd\" 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 Bernard Perron. 2006. &#8220;L&#8217;empire vid\u00e9oludique : comment les jeux vid\u00e9o ont conquis l&#8217;univers de Star Wars.&#8221; <em>D\u00e9cadrages,<\/em>\u00a0vol.8-9 (Fall), p. 98-105.<\/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-59e4d94 e-con-full e-flex e-con e-parent\" data-id=\"59e4d94\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9d7a56a elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9d7a56a\" 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=\"300\" height=\"483\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Le-game-design-de-jeux-video.-Approches-de-lexpression-video-ludique-2006.jpg\" class=\"attachment-large size-large wp-image-1386\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Le-game-design-de-jeux-video.-Approches-de-lexpression-video-ludique-2006.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Le-game-design-de-jeux-video.-Approches-de-lexpression-video-ludique-2006-186x300.jpg 186w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\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-ebcfce5 elementor-widget elementor-widget-text-editor\" data-id=\"ebcfce5\" 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;Jeu vid\u00e9o et \u00e9motions.&#8221; In S\u00e9bastien Genvo (ed.), <em>Le game design de jeux vid\u00e9o<\/em>.\u00a0<em>Approches de l\u2019expression vid\u00e9o-ludique<\/em>, p. 347-366. Paris: \u00c9ditions l\u2019Harmattan.<\/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-a31dd73 e-con-full e-flex e-con e-parent\" data-id=\"a31dd73\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-54cfedf elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"54cfedf\" 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-de4f8c5 elementor-widget elementor-widget-text-editor\" data-id=\"de4f8c5\" 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. 2005. &#8220;Abstract of Dynamic Range: When Game Design and Narratives Unite.&#8221; Conference proceedings for &#8220;DIGRA 2005&#8221; (Vancouver), Simon Fraser University. [<a title=\"\" href=\"https:\/\/dl.digra.org\/index.php\/dl\/article\/view\/191\" 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-5cf4df2 e-con-full e-flex e-con e-parent\" data-id=\"5cf4df2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c81404b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c81404b\" 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=\"300\" height=\"450\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg\" class=\"attachment-large size-large wp-image-1138\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\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-ac0363c elementor-widget elementor-widget-text-editor\" data-id=\"ac0363c\" 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. 2005. &#8220;Dark Waters: Spotlight on Immersion.&#8221; p.50-52. Conference proceedings for &#8220;Game On North America 2005&#8221; (Ghent), Eurosis-ETI.<\/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-bbc5a68 e-con-full e-flex e-con e-parent\" data-id=\"bbc5a68\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2fa664b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"2fa664b\" 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=\"393\" height=\"600\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg\" class=\"attachment-large size-large wp-image-1091\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg 393w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003-197x300.jpg 197w\" sizes=\"(max-width: 393px) 100vw, 393px\" \/>\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-b064944 elementor-widget elementor-widget-text-editor\" data-id=\"b064944\" 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 Mark J.P. Wolf (eds.). 2003. <em>The Video Game Theory Reader<\/em>. New York: Routledge.<\/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-24493b5 e-con-full e-flex e-con e-parent\" data-id=\"24493b5\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-eaee974 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"eaee974\" 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=\"393\" height=\"600\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg\" class=\"attachment-large size-large wp-image-1091\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003.jpg 393w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Video-Game-Theory-Reader-1-2003-197x300.jpg 197w\" sizes=\"(max-width: 393px) 100vw, 393px\" \/>\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-4ea9710 elementor-widget elementor-widget-text-editor\" data-id=\"4ea9710\" 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 Mark J.P. Wolf. 2003. &#8220;Introduction.&#8221; In Bernard Perron and Mark J.P. Wolf (ed.), <em>The Video Game Theory Reader<\/em>, p. 1-24. New York: Routledge.<\/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-2a988e4 e-con-full e-flex e-con e-parent\" data-id=\"2a988e4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ab1f9f6 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"ab1f9f6\" 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=\"650\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-4-2002.jpg\" class=\"attachment-large size-large wp-image-1502\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-4-2002.jpg 650w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cahiers-du-Gerse-No-4-2002-195x300.jpg 195w\" sizes=\"(max-width: 650px) 100vw, 650px\" \/>\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-a4aa0c4 elementor-widget elementor-widget-text-editor\" data-id=\"a4aa0c4\" 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;Un regard ludique sur la ville. Se perdre dans le Los Angeles futuriste du jeu vid\u00e9o <em>Blade Runner<\/em>.&#8221; <em>Cahier du Gerse : Montr\u00e9al entre ville et cin\u00e9ma.\u00a0<\/em><i>Du cin\u00e9ma et des restes urbains prise 3<\/i>, n\u00b0 4 (Winter), p. 39-52.<\/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\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"5\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1395\" aria-expanded=\"false\">Sound and Music<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1395\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1395\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5258\" class=\"elementor elementor-5258 elementor-1504 elementor-1504\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Sound and Music<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"180\" height=\"262\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Oxford_handbook-1.jpg\" class=\"attachment-large size-large wp-image-1509\" 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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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>Roux-Girard, Guillaume. 2014. &#8220;Sound and the Videoludic Experience.&#8221; In Bill Kapralos, Karen Collin and Holly Tessler (eds.), <em>Oxford Handbook of Interactive Audio<\/em>, p. 131-146. Oxford: Oxford University Press.<\/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-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 affiche 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 loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"450\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg\" class=\"attachment-full size-full wp-image-1138\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/nothing_ludov-200x300.jpg 200w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\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>Arsenault, Dominic, and Louis-Martin Guay. 2013. &#8220;RocKonf\u00e9rence sur la cr\u00e9ation et les hybridations historiques, esth\u00e9tiques et culturelles entre heavy metal et jeu vid\u00e9o.&#8221; In Serge Cardinal (ed.). Conference proccedings for &#8220;La cr\u00e9ation sonore et l\u2019OICRM (Observatoire Interdisciplinaire de Cr\u00e9ation et de Recherche en Musique)&#8221; (Montr\u00e9al, March 15, 2013), Carrefour des arts et des sciences de l\u2019Universit\u00e9 de Montr\u00e9al.<\/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-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" 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=\"170\" height=\"237\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Heavy-Metal-Generations.jpg\" class=\"attachment-large size-large wp-image-1511\" 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-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" 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 Louis-Martin Guay. 2012. &#8220;Thumb-Bangers: Exploring the Cultural Bond between Video Games and Heavy Metal.&#8221; In Andy R. Brown and Kevin Fellezs (eds.),\u00a0 <em>Heavy Metal Generations<\/em>, p.105-115. Oxford: Inter-Disciplinary Press.<\/p><div id=\"headingSecond\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSecond\" aria-expanded=\"false\" aria-controls=\"collapseSecond\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseSecond\" class=\"collapse in\" aria-labelledby=\"headingSecond\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Heavy metal and video games share an almost simultaneous birth, with Black Sabbath\u2019s debut album in 1970 and Nolan Bushnell\u2019s Computer Space in 1971. From Judas Priest\u2019s \u201cFreewheel Burning\u201d music video in 1984 to Tim Schafer\u2019s Br\u00fctal 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\u2019s Level 2 let us foresee a future where new hybrid creations could emerge.<\/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-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" 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=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\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-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" 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>Roux-Girard, Guillaume. 2012. &#8220;Sound.&#8221; In Mark J. P. Wolf (ed.), <em>Encyclopedia of Video Games<\/em>, p. 598-601. Santa Barbara: ABC-Clio Press.<\/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-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" 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=\"120\" height=\"163\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Roux-Girard-Game-Sound-Technology-and-Player-Interaction-2011.jpg\" class=\"attachment-large size-large wp-image-1513\" 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-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" 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>Roux-Girard, Guillaume. 2011. &#8220;Listening to Fear: A Study of Sound in Horror Computer Games.&#8221; In Mark Grimshaw (ed.), <em>Game Sound Technology and Player Interaction: Concepts and Developments<\/em>, p. 192-212. Hershey: IGI Global.<\/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-7a85d63 e-con-full e-flex e-con e-parent\" data-id=\"7a85d63\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e4085dd elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e4085dd\" 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-1da5010 elementor-widget elementor-widget-text-editor\" data-id=\"1da5010\" 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. 2008. &#8220;Guitar Hero: Not Like Playing Guitar At All?.&#8221; <em>Loading&#8230;Journal of the Canadian Game Studies Association<\/em>, vol. 2, n\u00b0 2. [<a title=\"\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/article\/view\/32\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingFirst\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFirst\" aria-expanded=\"false\" aria-controls=\"collapseFirst\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseFirst\" class=\"collapse in\" aria-labelledby=\"headingFirst\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>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.<\/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-66e95ac e-con-full e-flex e-con e-parent\" data-id=\"66e95ac\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-05944e4 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"05944e4\" 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=\"250\" height=\"345\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Inter-Espaces-sonores.jpg\" class=\"attachment-large size-large wp-image-1517\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Inter-Espaces-sonores.jpg 250w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Inter-Espaces-sonores-217x300.jpg 217w\" 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-a57b8b8 elementor-widget elementor-widget-text-editor\" data-id=\"a57b8b8\" 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. 2008. &#8220;Paysages 8-Bit: musicalit\u00e9 et spatialit\u00e9 dans le jeu vid\u00e9o des ann\u00e9es 1985-1990.&#8221;<em>\u00a0Inter<\/em>, no 98 (Winter), p. 9-12.<\/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-f82f454 e-con-full e-flex e-con e-parent\" data-id=\"f82f454\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6d303e2 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6d303e2\" 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=\"230\" height=\"351\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001.jpg\" class=\"attachment-large size-large wp-image-1519\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001.jpg 230w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001-197x300.jpg 197w\" sizes=\"(max-width: 230px) 100vw, 230px\" \/>\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-a544546 elementor-widget elementor-widget-text-editor\" data-id=\"a544546\" 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. 2001. &#8220;The First <em>Transi-Sounds<\/em> of Parallel Editing.&#8221; In Richard Abel and Rick Altman (ed.),\u00a0 <em>The Sounds of Early Cinema<\/em>, p. 79-86. Bloomington: Indiana University Press.<\/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-446995c e-con-full e-flex e-con e-parent\" data-id=\"446995c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-799b591 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"799b591\" 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=\"230\" height=\"351\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001.jpg\" class=\"attachment-large size-large wp-image-1519\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001.jpg 230w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Sounds-of-Early-Cinema-2001-197x300.jpg 197w\" sizes=\"(max-width: 230px) 100vw, 230px\" \/>\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-413ce8f elementor-widget elementor-widget-text-editor\" data-id=\"413ce8f\" 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. 2001. &#8220;Les transi-sons du cin\u00e9ma des premiers temps.&#8221; In <em>Cinema<\/em>, Richard Abel and Rick Altman, <em>The Sounds of Early,<\/em> p. 289-294.\u00a0Bloomington:\u00a0Indiana University Press.<\/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\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"6\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1396\" aria-expanded=\"false\">Theatre<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1396\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"6\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1396\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5607\" class=\"elementor elementor-5607 elementor-1524 elementor-1524\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Digital Culture<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"285\" height=\"240\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/revue_coulisses_2006.jpg\" class=\"attachment-large size-large wp-image-1527\" 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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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>Picard, Martin. 2006. &#8220;L&#8217;amour impossible entre le th\u00e9\u00e2tre et le cin\u00e9ma: \u00e9rotisme et imaginaire du <em>bunraku<\/em>\u00a0dans\u00a0<em>Dolls<\/em> de Takeshi Kitano&#8221;. <em>Coulisses<\/em>, n\u00b0 33 (January), p. 237-251.<\/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-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 affiche 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 loading=\"lazy\" decoding=\"async\" width=\"311\" height=\"499\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/La-firme-Pathe-Freres-1896-1914-.jpg\" class=\"attachment-full size-full wp-image-1529\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/La-firme-Pathe-Freres-1896-1914-.jpg 311w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/La-firme-Pathe-Freres-1896-1914--187x300.jpg 187w\" sizes=\"(max-width: 311px) 100vw, 311px\" \/>\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. 2004. &#8220;L\u2019alternance du <em>M\u00e9decin du ch\u00e2teau<\/em> : sc\u00e8ne\/hors-sc\u00e8ne.&#8221; In Michel Marie and Laurent Le Forestier (eds.), <i>F<\/i><em>irme Path\u00e9 Fr\u00e8res (1896-1914)<\/em>,\u00a0\u00a0p. 165-176. Paris: Association fran\u00e7aise de recherche sur l\u2019histoire du cin\u00e9ma.<\/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\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"7\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1397\" aria-expanded=\"false\">Reviews<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-1397\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"7\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-1397\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5618\" class=\"elementor elementor-5618 elementor-1535 elementor-1535\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full observation 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-3d330ac elementor-widget elementor-widget-heading\" data-id=\"3d330ac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Reviews, reports, articles, notes<\/h4>\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-797fc86 e-con-full e-flex e-con e-parent\" data-id=\"797fc86\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c87496 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6c87496\" 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=\"280\" height=\"174\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/First-Person-Scholar.png\" class=\"attachment-large size-large wp-image-1538\" 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-3839dc5 elementor-widget elementor-widget-text-editor\" data-id=\"3839dc5\" 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. 2017. &#8220;Documentation, Periodization, Regionalization, and Marginalization : Four Challenges for Video Game Historiography.&#8221; <i>First-Person Scholar<\/i>, (November 29). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/documentation-periodization-regionalization-and-marginalization\/\" 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-66617b1 e-con-full e-flex e-con e-parent\" data-id=\"66617b1\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-630c571 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"630c571\" 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=\"280\" height=\"174\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/First-Person-Scholar.png\" class=\"attachment-large size-large wp-image-1538\" 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-de8105b elementor-widget elementor-widget-text-editor\" data-id=\"de8105b\" 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. 2015. <i>&#8220;Shovel Knight<\/i> Redug: The Retro Game as Hypertext and Uchronia.&#8221; <i>First-Person Scholar<\/i>, (November 16). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/shovel-knight-redug\/\" 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-f274a58 e-con-full e-flex e-con e-parent\" data-id=\"f274a58\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-78503ec elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"78503ec\" 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=\"280\" height=\"174\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/First-Person-Scholar.png\" class=\"attachment-large size-large wp-image-1538\" 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-fa5be4e elementor-widget elementor-widget-text-editor\" data-id=\"fa5be4e\" 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 Audrey Larochelle. 2014. &#8220;Game Studies: From Colonization to Columbian Exchange.&#8221; <em>First-Person Scholar<\/em>, (June 18). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/game-studies\/\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingFPS\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFPS\" aria-expanded=\"false\" aria-controls=\"collapseFPS\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseFPS\" class=\"collapse in\" aria-labelledby=\"headingFPS\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>To rework the old spatial metaphor of game studies as a continent, we\u2019re 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.<\/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-8c6dbfa e-con-full e-flex e-con e-parent\" data-id=\"8c6dbfa\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fb62d69 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fb62d69\" 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\/Variations-1-Musee-de-la-Civilisation-de-Quebec-2014.jpg\" class=\"attachment-large size-large wp-image-1548\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Variations-1-Musee-de-la-Civilisation-de-Quebec-2014.jpg 773w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Variations-1-Musee-de-la-Civilisation-de-Quebec-2014-232x300.jpg 232w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Variations-1-Musee-de-la-Civilisation-de-Quebec-2014-768x994.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-a159d5a elementor-widget elementor-widget-text-editor\" data-id=\"a159d5a\" 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>Maheux, Fr\u00e9d\u00e9rick, Andr\u00e9ane Morin-Simard, Dominic Arsenault and Bernard Perron. 2014. &#8220;Les jeux vid\u00e9o au c\u0153ur de l\u2019art, de la culture et de la soci\u00e9t\u00e9.&#8221; <em>Variations : Objets et savoirs<\/em>, no.1. Qu\u00e9bec: Mus\u00e9es de la civilisation. [<a href=\"https:\/\/umontreal.scholaris.ca\/bitstreams\/47eee47a-fa04-4871-bb68-4607617c5a13\/download\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingVAR\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseVAR\" aria-expanded=\"false\" aria-controls=\"collapseVAR\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseVAR\" class=\"collapse in\" aria-labelledby=\"headingVAR\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>What effects do video games have on individuals? What changes are underway in the world of video games? What types of culture and society do video games create? These questions are answered in this first issue of the series. It includes research papers that informed the content of the exhibition A History of Video Games, presented at the Mus\u00e9e de la civilisation. These texts were written by Fr\u00e9d\u00e9rick Maheux and Andr\u00e9ane Morin-Simard, with the collaboration of Dominic Arsenault and Bernard Perron from the Department of Art History and Film Studies at the University of Montreal, and the support of Pierrette Lafond, Aude Porcedda and Mathieu Viau-Courville, research fellows at the Mus\u00e9es de la civilisation.<\/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-ce090f1 e-con-full e-flex e-con e-parent\" data-id=\"ce090f1\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a75ae77 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a75ae77\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-99c463e elementor-widget elementor-widget-text-editor\" data-id=\"99c463e\" 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\tArsenault, Dominic. 2014. &#8220;Fantasia \u2013 Premi\u00e8re internationale de Angry Video Game Nerd: The Movie \u2013 Une critique sans spoilers.&#8221; <i>Kinephanos<\/i>, (July 29). [<a href=\"https:\/\/www.kinephanos.ca\/2014\/fantasia-premiere-internationale-de-angry-video-game-nerd-the-movie-une-critique-sans-spoilers\/\" target=\"_blank\" rel=\"noopener\">Online<\/a>]\n<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>\n<div id=\"collapseTHREE\" class=\"collapse in\" aria-labelledby=\"headingTHREE\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nJames Rolfe strikes me as a talented filmmaker who has proven his mastery of horror and comedy. But it seems to me that the film suffers from a conflict between Rolfe&#8217;s ambitions as a filmmaker and the origins and formula of The Nerd. The Nerd may not be the right vehicle for Rolfe&#8217;s cinematic ambitions.\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-e85e314 e-con-full e-flex e-con e-parent\" data-id=\"e85e314\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4e2c3e9 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"4e2c3e9\" 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=\"368\" height=\"76\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Media-commons-Arsenault-2013.png\" class=\"attachment-large size-large wp-image-1551\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Media-commons-Arsenault-2013.png 368w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Media-commons-Arsenault-2013-300x62.png 300w\" sizes=\"(max-width: 368px) 100vw, 368px\" \/>\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-9e50b47 elementor-widget elementor-widget-text-editor\" data-id=\"9e50b47\" 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. 2013. &#8220;Post-narratology: A case for object-oriented narrative game studies.&#8221; <i>MediaCommons<\/i>, (November 22). [<a title=\"\" href=\"http:\/\/mediacommons.org\/fieldguide\/question\/what-are-intersections-digital-media-and-narrative-studies\/response\/post-narratology-case-o\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p><div id=\"headingTWO\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseTWO\" aria-expanded=\"false\" aria-controls=\"collapseTWO\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseTWO\" class=\"collapse in\" aria-labelledby=\"headingTWO\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>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\u2019s now time for game scholars to embrace some form of specialization as to the objects they study as well.<\/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-f8c920a e-con-full e-flex e-con e-parent\" data-id=\"f8c920a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c55b501 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c55b501\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-5d2fc0c elementor-widget elementor-widget-text-editor\" data-id=\"5d2fc0c\" 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>Picard, Martin, and Dominic Arsenault. 2013. &#8220;Exposition \u2018Une histoire de jeux vid\u00e9o\u2019 au Mus\u00e9e de la Civilisation \u00e0 Qu\u00e9bec.&#8221; <i>Kinephanos<\/i>, (August 21). [<a href=\"https:\/\/www.kinephanos.ca\/2013\/exposition-une-histoire-de-jeux-au-musee-de-la-civilisation-a-quebec\/\" target=\"_blank\" rel=\"noopener\">Online<\/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>With a focus on culture and aesthetics, the exhibition provides a compelling overview of more than 40 years of video game history, from 1972 (the release of PONG) to the present day, divided into seven sections. However, since the Mus\u00e9e de la civilisation has taken over the French exhibition, the consoles, games and paratexts all come from France. Many visitors will undoubtedly be presented with memories, but in an alternative version, as if they were being described through the eyes of another. This is undoubtedly the main criticism that can be levelled at this exhibition: the history of video games it presents is not quite our own.<\/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-ca3a288 e-con-full e-flex e-con e-parent\" data-id=\"ca3a288\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-adeb416 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"adeb416\" 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=\"143\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg\" class=\"attachment-large size-large wp-image-1437\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos.jpg 805w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-300x54.jpg 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Kinephanos-768x137.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-3bb5b0b elementor-widget elementor-widget-text-editor\" data-id=\"3bb5b0b\" 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\tArsenault, Dominic. 2013. &#8220;Eros &amp; Cie. &#8211; Critique Fantasia.&#8221; <i>Kinephanos<\/i>, (July 28). [<a href=\"https:\/\/www.kinephanos.ca\/2013\/eros-et-cie-critique-fantasia\/\" target=\"_blank\" rel=\"noopener\">Online<\/a>]\n<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>\n<div id=\"collapseFIVE\" class=\"collapse in\" aria-labelledby=\"headingFIVE\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nReviews of 11 Quebec short films presented as part of the Fantastic Weekend of Quebec Short Films, in a block entitled Eros et cie. A good choice of words, since desire and sexuality featured in all the short films presented, without being the focal point in each case. I really enjoyed the screening as a whole. In particular, I had three favourites, one disappointment, and two revelations.\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-689629d e-con-full e-flex e-con e-parent\" data-id=\"689629d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4e048c4 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"4e048c4\" 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=\"300\" height=\"160\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CIAC-Arsenault-2010.gif\" class=\"attachment-large size-large wp-image-1553\" 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-562b3ce elementor-widget elementor-widget-text-editor\" data-id=\"562b3ce\" 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. 2010. &#8220;De la bande passante \u00e0 la bande son : le CODE ORGAN.&#8221; <i>CIAC<\/i>, n\u00b0 36. [<a href=\"https:\/\/ciac.ca\/documents\/magazine\/no_36\/en\/oeuvre2.htm\">Online<\/a>]<\/p><div id=\"headingONE\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseONE\" aria-expanded=\"false\" aria-controls=\"collapseONE\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseONE\" class=\"collapse in\" aria-labelledby=\"headingONE\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>C O D E O R G A N is a brand new Flash application, a curiosity that caused a stir on the web as soon as it was released on 19 February 2010. Fundamentally playful, Codeorgan can be \u2018fed\u2019 any valid web address; after analysis and according to an algorithm developed by its designers, it translates the site into music and allows the user to \u2018listen\u2019 to it. Although it fits into the general idea of computer music, Codeorgan brings a social and collective dimension to what was traditionally the domain of an artist. For while the authors of Codeorgan defined its rules, they established them based on the data available (the various web pages they consulted to test their application during development) in order to obtain certain sounds.<\/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\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>Comics Film Digital Culture Play and Video Games Sound and Music Theatre Reviews Comics Comics Perron, Bernard. 2017. &#8220;Drawing (to) Fear and Horror: Into the Frame of Clive Barker\u2019s The &#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-2076","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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