{"id":427,"date":"2024-05-14T20:04:39","date_gmt":"2024-05-14T20:04:39","guid":{"rendered":"https:\/\/www.ludov.ca\/?page_id=427"},"modified":"2026-03-23T17:23:35","modified_gmt":"2026-03-23T21:23:35","slug":"approche-ludique-du-cinema","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/fr\/observation\/approche-ludique-du-cinema\/","title":{"rendered":"Approche ludique du cin\u00e9ma"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"427\" class=\"elementor elementor-427\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fa79a55 e-con-full observation mobnopad e-flex e-con e-parent\" data-id=\"fa79a55\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f6ec6c9 collection-tabs video-game-tabs elementor-tabs-view-horizontal elementor-widget elementor-widget-tabs\" data-id=\"f6ec6c9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-tabs\">\n\t\t\t<div class=\"elementor-tabs-wrapper\" role=\"tablist\" >\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2581\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-2581\" aria-expanded=\"false\">Projet<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2582\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2582\" aria-expanded=\"false\">R\u00e9alisations<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-2583\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2583\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t<div class=\"elementor-tabs-content-wrapper\" role=\"tablist\" aria-orientation=\"vertical\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-2581\" aria-expanded=\"false\">Projet<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2581\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2581\" tabindex=\"0\" hidden=\"false\"><p>Projet sous la direction de\u00a0<a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#BernardPerron\" target=\"_blank\" rel=\"noopener\">Bernard Perron<\/a>\u00a0(2001-2004)<\/p><p>C&rsquo;est la spectature-en-progression qui sous-tend ces recherches, \u00e0 savoir l&rsquo;activit\u00e9 perceptive et cognitive qu&rsquo;effectue le spectateur tout au long d&rsquo;un film de fiction narratif. L&rsquo;application de concepts et de notions de la science cognitive introduits en \u00e9tudes cin\u00e9matographiques a permis d&rsquo;actualiser et de jeter un regard nouveau sur cette activit\u00e9. Plus particuli\u00e8rement, ce programme de recherche a emprunt\u00e9 une avenue th\u00e9orique encore inexplor\u00e9e en \u00e9tudes cin\u00e9matographiques : la notion de jeu. Il a souhait\u00e9 fonder les assises de l&rsquo;analogie tr\u00e8s fconde entre le cin\u00e9ma narratif et le jeu, entre autres gr\u00e2ce \u00e0 la constitution d&rsquo;un fonds documentaire.<\/p><p>Le jeu constitue un terrain fertile pour \u00e9tudier l\u2019interactivit\u00e9 cognitive entre le film et le spectateur. Car \u00e0 tout prendre, avec la ludification actuelle de la culture, le spectateur contemporain n\u2019est finalement rien d\u2019autre qu\u2019un\u00a0<em>spectator ludens<\/em>. Les films fictionnels et narratifs ont donc \u00e9t\u00e9 consid\u00e9r\u00e9s comme des partiesjeux et r\u00e9partis entre deux p\u00f4les : le p\u00f4le ludus ilinx \u2014 largement repr\u00e9sent\u00e9 par les films \u00e0 grand spectacle \u2014 et le p\u00f4le ludus ag\u00f4n \u2014 regroupant les films aux r\u00e9cits plus alambiqu\u00e9s. Dans la mesure o\u00f9 l&rsquo;utilisation de la notion de jeu afin de mieux cerner la spectature-en-progression et le cin\u00e9ma narratif implique toujours un recul certain et que la r\u00e9solution de l&rsquo;\u00e9nigme ou la d\u00e9couverte de la cl\u00e9 du myst\u00e8re s&rsquo;effectue toujours au second degr\u00e9, ce programme de recherche s&rsquo;est aussi int\u00e9ress\u00e9 aux hypertextes multim\u00e9dias narratifs qui transforment litt\u00e9ralement le spectateur en joueur. Il a amorc\u00e9 l&rsquo;analyse d&rsquo;un corpus de films interactifs.<\/p><h5>Subvention Conseil de recherches en sciences humaines du Canada (CRSH) : Pour une approche ludique du cin\u00e9ma (2001-2004)<\/h5><h5>Subvention Fonds pour la formation de chercheurs et l&rsquo;aide \u00e0 la recherche (FCAR) : La spectature, une activit\u00e9 ludique (2001-2004)<\/h5><hr \/><h4>Auxiliaires<a id=\"auxiliaires\" name=\"auxiliaires\"><\/a><\/h4><ul><li>S\u00e9bastien Babeux\u00a0(2001-2004)<\/li><li>Vincent Chouzenoux\u00a0(2002-2004)<\/li><li>Fran\u00e7ois L\u00e9vesque\u00a0(2003-2004)<\/li><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#CarlTherrien\" target=\"_blank\" rel=\"noopener\">Carl Therrien<\/a>\u00a0(2001-2004)<\/li><\/ul><\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2582\" aria-expanded=\"false\">R\u00e9alisations<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2582\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2582\" tabindex=\"0\" hidden=\"hidden\"><p>&#8211; Base de Donn\u00e9es :\u00a0<a id=\"Bibliographie Cin\u00e9ludique\" title=\"Bibliographie Cin\u00e9ludique\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/document\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Bibliographie Cin\u00e9ludique\">Bibliographie Cin\u00e9ludique<\/a><\/p><\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-2583\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-2583\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-2583\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"687\" class=\"elementor elementor-687\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6b19f2a e-con-full e-flex e-con e-parent\" data-id=\"6b19f2a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e216582 elementor-widget elementor-widget-text-editor\" data-id=\"e216582\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>LIVRES ET P\u00c9RIODIQUES<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full e-flex e-con e-parent\" data-id=\"c1f9b00\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-89a4bbc elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"89a4bbc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"180\" height=\"272\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Jouer2.jpg\" class=\"attachment-large size-large wp-image-694\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-df3d0b2 elementor-widget elementor-widget-text-editor\" data-id=\"df3d0b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard (dir.). 2007. <em>Interm\u00e9dialit\u00e9s, jouer<\/em>. n\u00b0 9 (printemps). [<a title=\"Interm\u00e9dialit\u00e9s, Jouer\" href=\"https:\/\/www.erudit.org\/revue\/im\/2007\/v\/n9\/\" target=\"_blank\" rel=\"noopener\">En ligne<\/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>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseThree\" class=\"collapse in\" aria-labelledby=\"headingThree\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Homo ludens. Johan Huizinga affirme que ce terme qui caract\u00e9rise l\u2019homme qui joue convient peut-\u00eatre mieux \u00e0 notre esp\u00e8ce que les noms de homo sapiens \u2014 l\u2019homme qui raisonne \u2014 ou de homo fabien \u2014 l\u2019homme qui fabrique. Bien qu\u2019il faille, comme le rappelle Jacques Henriot, r\u00e9sister \u00e0 l\u2019id\u00e9e que le jeu soit \u00ab un facteur fondamental de tout ce qui se produit au monde \u00bb, l\u2019importance des jeux vid\u00e9o, de nos jours, ne peut que souligner la conviction de Huizinga voulant que \u00ab la civilisation humaine s\u2019annonce et se d\u00e9veloppe au sein du jeu, en tant que jeu \u00bb.<\/p><p>Des arts m\u00e9diatiques \u00e0 la litt\u00e9rature, en passant par le jeu vid\u00e9o et le cin\u00e9ma, ce num\u00e9ro propose une r\u00e9flexion sur la ludification de la culture et des m\u00e9dias. Les textes pr\u00e9sent\u00e9s, bien que diff\u00e9rents par les th\u00e9matiques abord\u00e9es, peuvent \u00eatre regroup\u00e9s selon deux approches distinctes. Premi\u00e8rement, plusieurs auteurs ont choisi de s\u2019int\u00e9resser aux relations fiction\/jeu ainsi qu\u2019aux m\u00e9diations qu\u2019elles engendrent. Qu\u2019il s\u2019agisse de l\u2019interaction entre r\u00e9el, virtuel et fictionnel au sein des jeux vid\u00e9o, de l\u2019espace conflictuel fiction-r\u00e9el cr\u00e9\u00e9 par le \u00ab cin\u00e9ma d\u2019exposition \u00bb ou d\u2019une red\u00e9finition de la notion de hors-jeu \u00e0 partir de l\u2019activit\u00e9 autoriale et\/ou spectatorielle, tous soulignent le caract\u00e8re \u00e9minemment ludique de la fiction. La deuxi\u00e8me voie emprunt\u00e9e interroge, quant \u00e0 elle, deux th\u00e9ories fondamentales du jeu : l\u2019une qui rapporte l\u2019activit\u00e9 ludique \u00e0 l\u2019apprentissage et \u00e0 une pratique interpr\u00e9tative et l\u2019autre qui l\u2019associe \u00e0 une forme anti-esth\u00e9tique menant \u00e0 la destruction.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f221a54 e-con-full e-flex e-con e-parent\" data-id=\"f221a54\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9a3cbc3 elementor-widget elementor-widget-text-editor\" data-id=\"9a3cbc3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Chapitres de livre et articles<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dc3868a e-con-full e-flex e-con e-parent\" data-id=\"dc3868a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-126a248 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"126a248\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"268\" height=\"188\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Perron-Picard-Blanchet-Aventure-et-Guide.jpg\" class=\"attachment-large size-large wp-image-706\" 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, et Martin Picard. 2015. \u00ab Petit guide en six termes pour survivre \u00e0 l&rsquo;approche th\u00e9orique des relations entre le jeu vid\u00e9o et le cin\u00e9ma \u00bb. Dans\u00a0Alexis Blanchet (dir.),\u00a0<em>Cin\u00e9ma et jeu vid\u00e9o<\/em>,\u00a0p. 24-37. Paris :\u00a0Questions Th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9222cc e-con-full e-flex e-con e-parent\" data-id=\"a9222cc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a1253ca elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"a1253ca\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"250\" height=\"400\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg\" class=\"attachment-large size-large wp-image-711\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg 250w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008-188x300.jpg 188w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fb19b3e elementor-widget elementor-widget-text-editor\" data-id=\"fb19b3e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2008. \u00ab Dal film al gioco: l&rsquo;esperienza forzata di paura \u00bb. Dans Matteo Bittanti (dir.),\u00a0<em>Schermi interattivi. Saggi critici su videogiochi &amp; cinema,<\/em>\u00a0p.\u00a0233-259.\u00a0Rome :\u00a0Meltemi.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-58e8545 e-con-full e-flex e-con e-parent\" data-id=\"58e8545\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-68235bb elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"68235bb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"659\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007.jpg\" class=\"attachment-large size-large wp-image-713\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007.jpg 659w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Intermedialites-No-92007-198x300.jpg 198w\" sizes=\"(max-width: 659px) 100vw, 659px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6183f0a elementor-widget elementor-widget-text-editor\" data-id=\"6183f0a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2007. \u00ab Pr\u00e9sentation. L\u2019entre-jeux : m\u00e9diations ludiques \u00bb.\u00a0<em>Interm\u00e9dialit\u00e9s<\/em>,\u00a0<a title=\"Interm\u00e9dialit\u00e9s, Jouer\" href=\"https:\/\/www.erudit.org\/revue\/im\/2007\/v\/n9\/\" target=\"_blank\" rel=\"noopener\"><em>Jouer<\/em><\/a>, n\u00b0 9 (printemps), p. 9-13. [<a href=\"https:\/\/www.ludov.ca\/documents\/publications\/entre_jeux_mediations_ludiques.pdf\" target=\"_blank\" rel=\"noopener\">En ligne<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6fd6a09 e-con-full e-flex e-con e-parent\" data-id=\"6fd6a09\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-958f326 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"958f326\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"773\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007.jpg\" class=\"attachment-large size-large wp-image-716\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007.jpg 773w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007-232x300.jpg 232w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Journal-of-Moving-Image-Studies-Vol.-5-No-1-2007-768x994.jpg 768w\" sizes=\"(max-width: 773px) 100vw, 773px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8a8462e elementor-widget elementor-widget-text-editor\" data-id=\"8a8462e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2007. \u00ab Anaconda, a Snakes and Ladders Game. Horror Film and the Notions of Stereotype, Fun and Play \u00bb.\u00a0<em>Journal of Moving Image Studies<\/em>, vol. 5, n\u00b0 1 (d\u00e9cembre), p. 20-30. [<a title=\"Anaconda, a Snakes and Ladders Game. Horror Film and the Notions of Stereotype, Fun and Play\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/BPerron_-_Anaconda.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingFour\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFour\" aria-expanded=\"false\" aria-controls=\"collapseFour\"><strong>+ En savoir plus<\/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>Dans un chapitre de son livre Les id\u00e9es re\u00e7ues. S\u00e9miologie du st\u00e9r\u00e9otype (1991), Ruth Amossy s\u2019int\u00e9resse \u00e0 l\u2019industrialisation de la peur et associe la fiction d\u2019\u00e9pouvante au jouer et au jeux. C\u2019est pr\u00e9cis\u00e9ment cette relation entre le st\u00e9r\u00e9otype (comme l\u2019a dit Barthes, un monstre se cache derri\u00e8re chaque signe) et l\u2019esprit ludique que cet article cherchera \u00e0 pr\u00e9ciser. Empruntant des concepts \u00e0 la cognition sociale, \u00e0 la psychologie cognitive, aux \u00e9tudes litt\u00e9raires et \u00e0 la th\u00e9orie du jeu, il \u00e9tudiera les d\u00e9tails de cette \u00ab r\u00e9p\u00e9tition \u00e0 l\u2019int\u00e9rieur de la diversit\u00e9 qui assure l\u2019effet du st\u00e9r\u00e9otype \u00bb (Amossy).<\/p><p>Afin d\u2019y parvenir, cet article proc\u00e8de \u00e0 une analyse textuelle du film de genre Anaconda (Luis Llosa, 1997). Plus pr\u00e9cis\u00e9ment, il d\u00e9peint comment ce film, qui introduit un serpent gigantesque en guise de monstre, est construit comme un jeu de serpents et \u00e9chelles. L\u2019article d\u00e9montre comment les personnages st\u00e9r\u00e9otyp\u00e9s, dans ce cas-ci l\u2019\u00e9quipe de tournage documentaire (form\u00e9e d\u2019une r\u00e9alisatrice hispano-am\u00e9ricaine, d\u2019un directeur photo afro-am\u00e9ricain, d\u2019un narrateur britannique et d\u2019un scientifique am\u00e9ricain de race blanche), sont des pions que le r\u00e9alisateur peut \u00ab d\u00e9placer \u00bb. En respectant ou en pervertissant certaines r\u00e8gles du genre \u2013 avec lesquelles le spectateur est familier\u2013, ces \u00ab d\u00e9placements \u00bb ont aussi pour fin de faire \u00ab se d\u00e9placer \u00bb ce dernier dans l\u2019espace ou, plus pr\u00e9cis\u00e9ment, le terrain de jeu circonscrit par la fiction : le Fleuve de l\u2019Amazone. Par exemple, certains mouvements, que l\u2019on pourrait identifier comme des d\u00e9placements-\u00e9chelles, laisseront les personnages et le r\u00e9cit progresser normalement, alors que les d\u00e9placements-serpents \u00e9limineront des \u00ab pions \u00bb ou d\u00e9joueront les attentes du spectateur.<\/p><p>En conclusion, l\u2019article montre que cette construction s\u2019applique de mani\u00e8re g\u00e9n\u00e9rale aux films de monstres et d\u2019horreur (l\u2019analogie du jeu de serpents et \u00e9chelles est \u00e9videment applicable sans que le monstre ne soit un serpent) et soulignera finalement que c\u2019est dans un \u00e9change ludique que les st\u00e9r\u00e9otypes prennent toute leur valeur.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9c7ddb9 e-con-full e-flex e-con e-parent\" data-id=\"9c7ddb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ce0b0e elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3ce0b0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"288\" height=\"373\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg\" class=\"attachment-large size-large wp-image-721\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg 288w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006-232x300.jpg 232w\" sizes=\"(max-width: 288px) 100vw, 288px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-05323d4 elementor-widget elementor-widget-text-editor\" data-id=\"05323d4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2006. \u00ab Quand le brouillard se dissipe :\u00a0<em>Silent Hill,<\/em>\u00a0le film \u00bb.\u00a0<em>Cin\u00e9-Bulles<\/em>, vol. 24, n\u00b0 4 (automne), p. 42-47. [<a title=\"Quand le brouillard se dissipe : Silent Hill, le film\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinebulles%20-%202007.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6802036 e-con-full e-flex e-con e-parent\" data-id=\"6802036\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ef60bab elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"ef60bab\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"774\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-774x1024.jpg\" class=\"attachment-large size-large wp-image-723\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-774x1024.jpg 774w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-227x300.jpg 227w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005-768x1016.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DisVoir-Therrien-2005.jpg 921w\" sizes=\"(max-width: 774px) 100vw, 774px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-65e58bc elementor-widget elementor-widget-text-editor\" data-id=\"65e58bc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Therrien, Carl. 2006. \u00ab Le cin\u00e9ma sous l&#8217;emprise du jeu. R\u00e9f\u00e9rences ludiques et mise au jeu dans le cin\u00e9ma contemporain \u00bb. Dans D. Rivi\u00e8re (dir.),\u00a0<em>Jeux et enjeux de la narrativit\u00e9 dans les pratiques contemporaines<\/em>, p.\u00a092-104.\u00a0Paris :\u00a0Dis Voir.<\/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-430438f e-con-full e-flex e-con e-parent\" data-id=\"430438f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c1e3399 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"c1e3399\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"317\" height=\"475\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004.jpg\" class=\"attachment-large size-large wp-image-726\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004.jpg 317w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinema-contemporain-etat-des-lieux-2004-200x300.jpg 200w\" sizes=\"(max-width: 317px) 100vw, 317px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f6d608e elementor-widget elementor-widget-text-editor\" data-id=\"f6d608e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2004. \u00ab Pleins jeux sur le cin\u00e9ma contemporain \u00bb. Dans\u00a0Jean-Pierre Esquenazi (dir.),\u00a0<em>Cin\u00e9ma contemporain : \u00e9tat des lieux<\/em>,\u00a0p.\u00a0293-308.\u00a0Coll. \u00ab Champs Visuels \u00bb,\u00a0Paris :\u00a0L&rsquo;Harmattan. [<a title=\"Pleins Jeux sur le cin\u00e9ma contemporain\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Lyon%20-%202002.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingFive\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFive\" aria-expanded=\"false\" aria-controls=\"collapseFive\"><strong>+ En savoir plus<\/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>Cet article interroge les diverses relations entre le cin\u00e9ma, le jeu vid\u00e9o et la notion de jeu en g\u00e9n\u00e9ral. Il r\u00e9fl\u00e9chit aux changements que celles-ci entra\u00eenent sur la production, sur la r\u00e9ception et sur la consommation des films. Si, tel que l&rsquo;a entre autres soulign\u00e9 Guy Scarpetta, l&rsquo;av\u00e8nement de la postmodernit\u00e9 a redonn\u00e9 au ludique la valeur qu&rsquo;il avait perdue dans le cin\u00e9ma moderne, les jeux vid\u00e9o ont \u00e9videmment accentu\u00e9 cette dimension au-del\u00e0 de toute mesure. \u00ab\u00a0La mode des jeux vid\u00e9o, a pour sa part not\u00e9 Alain Le Diberder, n&rsquo;a pas seulement dop\u00e9 l&rsquo;industrie du cin\u00e9ma. Elle a impos\u00e9 un nouveau rapport du spectateur au r\u00e9cit : l&rsquo;interactivit\u00e9\u00a0\u00bb (Cahiers du cin\u00e9ma, n\u00b0 503, juin 1996). De la sorte, s&rsquo;il y a eu un temps o\u00f9 il \u00e9tait pertinent de conceptualiser le spectateur comme un d\u00e9codeur ou un interlocuteur, il est aujourd&rsquo;hui n\u00e9cessaire de percevoir ce dernier comme un joueur. Le cin\u00e9ma contemporain ne se con\u00e7oit plus sans un important rapport au ludique.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-aa80f6d e-con-full e-flex e-con e-parent\" data-id=\"aa80f6d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-620352c elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"620352c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"442\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg\" class=\"attachment-large size-large wp-image-729\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg 594w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002-300x223.jpg 300w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e4249c5 elementor-widget elementor-widget-text-editor\" data-id=\"e4249c5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Babeux, S\u00e9bastien. 2002. \u00ab Le terrain de la narration ; en-jeu et hors-jeu (l&rsquo;exemple de\u00a0<em>Deep Red<\/em>\u00a0de Argento) \u00bb.\u00a0<em><a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/\" target=\"\">Artifice<\/a><\/em>,<em>\u00a0Dossier Cin\u00e9ma, jeu, jeux vid\u00e9o : contaminations<\/em>. [<a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/dossierarchives\/116.htm\" target=\"\">En ligne<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-0a196f4 e-con-full e-flex e-con e-parent\" data-id=\"0a196f4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b40b4c6 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"b40b4c6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"442\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg\" class=\"attachment-large size-large wp-image-729\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002.jpg 594w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Artifice-2002-300x223.jpg 300w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6ee3bda elementor-widget elementor-widget-text-editor\" data-id=\"6ee3bda\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2002. \u00ab Hors-jeu : introduction \u00bb.\u00a0<em><a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/\" target=\"\">Artifice<\/a><\/em>,\u00a0<i>Dossier Cin\u00e9ma, jeu, jeux vid\u00e9o : contaminations<\/i>. [<a title=\"\" href=\"http:\/\/www.webbynerd.com\/artifice\/dossierarchives\/115.htm\" target=\"\">En ligne<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-1fa47f2 e-con-full e-flex e-con e-parent\" data-id=\"1fa47f2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8dfca8e elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"8dfca8e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"695\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002.jpg\" class=\"attachment-large size-large wp-image-731\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002.jpg 695w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Comparaison-vol-2-2002-209x300.jpg 209w\" sizes=\"(max-width: 695px) 100vw, 695px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b267144 elementor-widget elementor-widget-text-editor\" data-id=\"b267144\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2002. \u00ab L&rsquo;approche ludique du cin\u00e9ma de fiction : un jeu \u00e0 motif mixte \u00bb.\u00a0<em>Compar(a)ison<\/em>,\u00a0<em>Culture m\u00e9diatique<\/em>, vol. 2, p. 69-88. [<a title=\"L'approche ludique du cin\u00e9ma de fiction : un jeu \u00e0 motif mixte\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Comparaison%20-%202002.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\n<div id=\"headingSix\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSix\" aria-expanded=\"false\" aria-controls=\"collapseSix\"><strong>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseSix\" class=\"collapse in\" aria-labelledby=\"headingSix\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nCet article \u00e9tudie les assises de l&rsquo;analogie entre le cin\u00e9ma et la notion de jeu. Il s&rsquo;agit d&rsquo;abord de pr\u00e9senter les notions qui collaborent \u00e0 cette analogie (notamment la d\u00e9finition de l&rsquo;art du suspense de Truffaut, la feintise ludique partag\u00e9e de Jean-Marie Schaeffer et certaines th\u00e8ses de la lecture comme jeu de Michel Picard) et celles qui entrent en conflit (comme la critique de Colas Duflo des d\u00e9finitions du jeu trop vagues et les distinctions de Espen Aarseth entre le texte narratif et le cybertexte ou le texte ergodique).\n\nEn second lieu, consid\u00e9rant les films fictionnels et narratifs comme des parties-jeux filmiques, cet article pr\u00e9cise de quel type de jeux il est question. D&rsquo;une part, il est n\u00e9cessaire de noter que les joueurs (parlons ici du r\u00e9alisateur et du spectateur) doivent coop\u00e9rer et collaborer (collaborative game) dans la progression du r\u00e9cit. D&rsquo;autrepart, il est n\u00e9cessaire de montrer qu&rsquo;il s&rsquo;agit n\u00e9anmoins d&rsquo;une situation de comp\u00e9tition (\u00ab\u00a0zero-sum\u00a0\u00bb competitive game) o\u00f9 les joueurs ont des int\u00e9r\u00eats exclusifs. C&rsquo;est pourquoi, mariant \u00e0 la fois la collaboration et la comp\u00e9tition, cet article d\u00e9finit la situation de jeu du cin\u00e9ma narratif comme une situation \u00e0 motif mixte (mixed motif game).\n\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-62aaa51 e-con-full e-flex e-con e-parent\" data-id=\"62aaa51\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-689d94e elementor-widget elementor-widget-text-editor\" data-id=\"689d94e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Autres publications pertinentes<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dbc8220 e-con-full e-flex e-con e-parent\" data-id=\"dbc8220\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b2903c7 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"b2903c7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"427\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012.jpg\" class=\"attachment-large size-large wp-image-735\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012.jpg 640w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Nouvelles-Vues-2012-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-83d35dd elementor-widget elementor-widget-text-editor\" data-id=\"83d35dd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Arsenault, Dominic, et Vincent Mauger. 2012. \u00ab Au-del\u00e0 de \u00ab\u00a0l&rsquo;envie cin\u00e9matographique\u00a0\u00bb : le complexe transm\u00e9diatique d&rsquo;Assassin&rsquo;s Creed \u00bb.\u00a0<em>Nouvelles vues : revue sur les pratiques et les th\u00e9ories du cin\u00e9ma au Qu\u00e9bec, Le cin\u00e9ma qu\u00e9b\u00e9cois et les autres arts<\/em>, n\u00b0 13 (hiver-printemps). [<a href=\"https:\/\/nouvellesvues.org\/wp-content\/uploads\/2021\/08\/Au-dela_de__l_envie_cinematographique___le_complexe_transmediatique_d_Assassin_s_Creed__par_DOMINIC_ARSENAULT_et_VINCENT_MAUGER.pdf\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8b268b6 e-con-full e-flex e-con e-parent\" data-id=\"8b268b6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-d18e6c4 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"d18e6c4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/DiGRA-events-et-proceedings2.jpg\" class=\"attachment-large size-large wp-image-737\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7f9c755 elementor-widget elementor-widget-text-editor\" data-id=\"7f9c755\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Therrien, Carl. 2009. \u00ab Making Sens in Ludic Worlds. The Idealization of Immersive Postures in Movies and Video Games \u00bb.\u00a0 Actes du colloque DIGRA,\u00a0<i>Breaking New Ground: Innovation in Games, Play, Practice and Theory<\/i>.\u00a0West London :\u00a0Brunel University.\u00a0[<a title=\"\" href=\"https:\/\/dl.digra.org\/index.php\/dl\/article\/view\/401\" target=\"_blank\" rel=\"noopener\">En ligne<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-5fe60f9 e-con-full e-flex e-con e-parent\" data-id=\"5fe60f9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-da3c52d elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"da3c52d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"210\" height=\"300\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/The-Video-Game-Explosion-History-from-Pong-to-PlayStation-and-Beyond-2008.jpg\" class=\"attachment-large size-large wp-image-739\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b2bb466 elementor-widget elementor-widget-text-editor\" data-id=\"b2bb466\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Picard, Martin. 2008. \u00ab Video Games and Their Relationship with Other Media \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<em>The Video Game Explosion: A History from Pong to PlayStation and Beyond<\/em>, p.\u00a0293-300, Westport : Greenwood Press. [<a title=\"Video Games and Their Relationship with Other Media\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/PICARD%20-%20Video%20Games%20and%20Their%20Relationship%20with%20Other%20Media.pdf\" target=\"_blank\" rel=\"noopener\">PDF pr\u00e9-publication<\/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-9b6ee7c e-con-full e-flex e-con e-parent\" data-id=\"9b6ee7c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bb53066 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"bb53066\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"100\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/loading-logo-2.gif\" class=\"attachment-large size-large wp-image-742\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff96b1b elementor-widget elementor-widget-text-editor\" data-id=\"ff96b1b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Picard, Martin. 2007. \u00ab Machinima: Video game as an Art form ? \u00bb.\u00a0<em>Loading: Journal of the Canadian Game Studies Association<\/em>, vol. 1, n\u00b0 1. [<a title=\"Machinima: Video game as an Art form?\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Martin%20Picard_Machinima%20-%20Video%20Game%20as%20an%20Art%20Form%20-%20Loading.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/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-1ece1be e-con-full e-flex e-con e-parent\" data-id=\"1ece1be\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3357647 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3357647\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"848\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006.jpg\" class=\"attachment-large size-large wp-image-744\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006.jpg 943w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006-283x300.jpg 283w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Decadrages-Le-monde-Star-Wars-2006-768x814.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4e6f36c elementor-widget elementor-widget-text-editor\" data-id=\"4e6f36c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard,\u00a0et\u00a0Dominic Arsenault. 2006. \u00ab L&#8217;empire vid\u00e9oludique : comment les jeux vid\u00e9o ont conquis l&rsquo;univers de\u00a0<em>Star Wars<\/em>\u00a0\u00bb. Dans Alain Boillat (dir.),\u00a0<em>D\u00e9cadrages. Dossier : Le monde de Star Wars,<\/em>\u00a0vol.8-9 (automne), 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-d952d06 e-con-full e-flex e-con e-parent\" data-id=\"d952d06\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fe0bc63 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"fe0bc63\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"656\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999.jpg\" class=\"attachment-large size-large wp-image-747\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999.jpg 656w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-10-No-1-1999-197x300.jpg 197w\" sizes=\"(max-width: 656px) 100vw, 656px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ff3dbfb elementor-widget elementor-widget-text-editor\" data-id=\"ff3dbfb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 1999. \u00ab Un indice pour ouvrir le jeu \u00bb.\u00a0<em><a title=\"\" href=\"https:\/\/www.revue-cinemas.info\/\" target=\"\">Cin\u00e9mas<\/a><\/em>,\u00a0<em>Cin\u00e9lekta 3<\/em>, vol. 10, n\u00b0 1 (automne), p. 95-110. [<a title=\"Un indice pour ouvrir le jeu\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Indice%20pour%20ouvrir%20le%20jeu.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\n<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>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseSeven\" class=\"collapse in\" aria-labelledby=\"headingSeven\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nL&rsquo;auteur trace les grandes lignes de l&rsquo;analogie tr\u00e8s f\u00e9conde entre le jeu et le cin\u00e9ma narratif. Il d\u00e9finit d&rsquo;abord succinctement les traits constitutifs de l&rsquo;activit\u00e9 ludique institu\u00e9e par le cin\u00e9ma narratif. Ensuite, il en \u00e9tudie les principes \u00e0 travers l&rsquo;analyse de Clue (Jonathan Lynn, 1985), le film adapt\u00e9 du c\u00e9l\u00e8bre jeu de soci\u00e9t\u00e9 de Parker Brothers.\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-dbaef68 e-con-full e-flex e-con e-parent\" data-id=\"dbaef68\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3e8fe90 elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"3e8fe90\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995.jpg\" class=\"attachment-large size-large wp-image-749\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995.jpg 727w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Iris-Vol-20-1995-218x300.jpg 218w\" sizes=\"(max-width: 727px) 100vw, 727px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-184e13f elementor-widget elementor-widget-text-editor\" data-id=\"184e13f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 1995. \u00ab Une machine \u00e0 faire penser \u00bb.\u00a0<em>Iris<\/em>,\u00a0<em>La notion de genre au cin\u00e9ma<\/em>, vol. 20 (automne), p. 76-84. [<a title=\"Une machine \u00e0 faire penser\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Iris%20-%201995.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\n<div id=\"headingHeight\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseHeight\" aria-expanded=\"false\" aria-controls=\"collapseHeight\"><strong>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseHeight\" class=\"collapse in\" aria-labelledby=\"headingHeight\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nBarth\u00e9l\u00e9my Amengual d\u00e9finit un genre comme une \u00ab\u00a0machine \u00e0 faire penser\u00a0\u00bb. Certes, dans la mesure o\u00f9 un film de genre est vu comme un r\u00e9cit pr\u00e9fabriqu\u00e9 qui suppose un ensemble de conventions et d&rsquo;attentes, il est pertinent d&rsquo;\u00e9tudier les processus perceptifs et cognitifs mobilis\u00e9s (consciemment ou non) durant le visionnement d&rsquo;un film. Analysant House de Steve Miner (1986), l&rsquo;auteur montre comment le spectateur est constamment engag\u00e9 dans un cycle perceptivo-cognitif pendant qu&rsquo;il produit du sens et prend plaisir au sein d&rsquo;un genre cin\u00e9matographique et du cin\u00e9ma narratif en g\u00e9n\u00e9ral. Durant ce cycle perceptivo-cognitif, le mode de perception top-down demeure le plus significatif. En fin de compte, l&rsquo;auteur souligne que l&rsquo;espace fondamentalement ludique du genre (et de tout le cin\u00e9ma narratif) est presque toujours le th\u00e9\u00e2tre d&rsquo;un affrontement entre le r\u00e9alisateur et le spectateur.\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-d494dbe e-con-full e-flex e-con e-parent\" data-id=\"d494dbe\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-83ee34d elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"83ee34d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"666\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994.jpg\" class=\"attachment-large size-large wp-image-751\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994.jpg 666w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Cinemas-Vol-4-No-1-2-1994-200x300.jpg 200w\" sizes=\"(max-width: 666px) 100vw, 666px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-abc529f elementor-widget elementor-widget-text-editor\" data-id=\"abc529f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 1994. \u00ab La m\u00e9moire, c&rsquo;est ce qu&rsquo;il me reste \u00e0 d\u00e9faut d&rsquo;une vue \u00bb.\u00a0<em><a title=\"\" href=\"https:\/\/www.revue-cinemas.info\/\" target=\"\">Cin\u00e9mas<\/a><\/em>,\u00a0<em>Le temps au cin\u00e9ma<\/em>, vol. 4, n\u00b0 1-2 (automne), p. 91-103. [<a title=\"La m\u00e9moire, c'est ce qu'il me reste \u00e0 d\u00e9faut d'une vue\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinemas%20-%201994.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<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>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseNine\" class=\"collapse in\" aria-labelledby=\"headingNine\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nLa temporalit\u00e9 filmique est analys\u00e9e ici par rapport aux contraintes fix\u00e9es par le temps de la projection. Parce que la projection d&rsquo;un film s&rsquo;effectue en temps r\u00e9el, la compr\u00e9hension du r\u00e9cit exige un effort perceptif et cognitif de la part du spectateur. Et la narration filmique tire profit de cet apport spectatoriel. Analysant Le Silence des agneaux de Jonathan Demme (1990), l&rsquo;auteur \u00e9tudie donc les m\u00e9canismes de la m\u00e9moire, les processus inf\u00e9rentiels ainsi que les deux modes de perception (bottom-up et top-down) qui sont activ\u00e9s lors du visionnement d&rsquo;un film. Il expose aussi la tricherie qui ponctue la derni\u00e8re partie du film.\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-f5540b9 e-con-full e-flex e-con e-parent\" data-id=\"f5540b9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-bac1dcf elementor-widget__width-initial elementor-widget elementor-widget-image\" data-id=\"bac1dcf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"652\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992.jpg\" class=\"attachment-large size-large wp-image-755\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992.jpg 652w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/CommunicationVol-13-No-2-1992-196x300.jpg 196w\" sizes=\"(max-width: 652px) 100vw, 652px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7fa2e46 elementor-widget elementor-widget-text-editor\" data-id=\"7fa2e46\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 1992. \u00ab Au-del\u00e0 de hors-champ : le hors-sc\u00e8ne \u00bb.\u00a0<em>Communication,<\/em>\u00a0vol. 13, n\u00b0 2 (automne), p.\u00a085-97.\u00a0Qu\u00e9bec :\u00a0Universit\u00e9 Laval, Spectateurs.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<\/p><h5><u>M\u00e9moires de ma\u00eetrise et th\u00e8ses de doctorat<\/u><\/h5><p>Picard, Martin. 2009. \u00ab Pour une esth\u00e9tique du cin\u00e9ma transludique : Figures du jeu vid\u00e9o et de l&rsquo;animation dans le cin\u00e9ma d&rsquo;effets visuels du tournant du XXIe si\u00e8cle \u00bb. Th\u00e8se de doctorat, Universit\u00e9 de Montr\u00e9al (non-publi\u00e9e). [<a title=\"Th\u00e8se Martin Picard\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/06\/Picard_Martin_2010_these.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><p>Babeux, S\u00e9bastien. 2004. \u00ab L&rsquo;interf\u00e9rence dans le cin\u00e9ma postmoderne \u00bb. M\u00e9moire de ma\u00eetrise, Universit\u00e9 de Montr\u00e9al (non-publi\u00e9).<\/p><p>Perron, Bernard. 1997. \u00ab La Spectature prise au jeu. La narration, la cognition et le jeu dans le cin\u00e9ma narratif \u00bb. Th\u00e8se de doctorat , Universit\u00e9 de Montr\u00e9al (non-publi\u00e9e). [<a title=\"Th\u00e8se Bernard Perron\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/06\/Bernard_Perron-These.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingThesis\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseThesis\" aria-expanded=\"false\" aria-controls=\"collapseThesis\"><strong>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseThesis\" class=\"collapse in\" aria-labelledby=\"headingThesis\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Cette th\u00e8se s&rsquo;int\u00e9resse \u00e0 la spectature-en-progression, c&rsquo;est-\u00e0-dire \u00e0 l&rsquo;activit\u00e9 perceptive et cognitive du spectateur. En fait, il s&rsquo;agit de reprendre \u00e0 la base le programme initial de la s\u00e9miologie \u2014 le fameux \u00abcomprendre comment le film est compris\u00bb \u2014 afin d&rsquo;\u00e9tudier le parcours qu&rsquo;effectue le spectateur tout au long d&rsquo;un film fictionnel et narratif.<\/p><p>La premi\u00e8re partie de la th\u00e8se questionne les principes que la narratologie cin\u00e9matographique compar\u00e9e a emprunt\u00e9s \u00e0 la linguistique structurale. D&rsquo;une part, l&rsquo;analyse benvenistienne de l&rsquo;\u00e9nonciation donne pr\u00e9s\u00e9ance aux instances racontantes, instances qu&rsquo;on pose a priori afin de comprendre l&rsquo;\u00abordre des choses en soi\u00bb. D&rsquo;autre part, l&rsquo;\u00e9tude genettienne du r\u00e9cit consiste en une \u00e9tude \u00e0 partir de l&rsquo;histoire, c&rsquo;est-\u00e0-dire \u00e0 partir d&rsquo;un ensemble d&rsquo;\u00e9v\u00e9nements d\u00e9j\u00e0 racont\u00e9s et (r\u00e9)arrang\u00e9s dans un ordre chronologique. Dans un cas comme dans l&rsquo;autre, ces approches ont laiss\u00e9 en plan et le spectateur et son parcours.<\/p><p>Parce qu&rsquo;il appert difficile de comprendre \u00abcomment le film est compris\u00bb sans accorder de l&rsquo;importance aux aspects cognitifs de l&rsquo;activit\u00e9 spectatorielle, la seconde partie de la th\u00e8se tire profit des recherches effectu\u00e9es en sciences cognitives. Je me pr\u00e9occupe alors de la propension du spectateur \u00e0 l&rsquo;organisation narrative, de ses connaissances sch\u00e9matiques, de ses horizons d&rsquo;attente, de son travail m\u00e9moriel, de ses anticipations et de ses modes de perception et de traitement de l&rsquo;information. Encore toute r\u00e9cente dans le champ cin\u00e9matographique, l&rsquo;application des concepts et des notions de la science cognitive permet d&rsquo;actualiser et de jeter un regard nouveau sur la r\u00e9ception du film. L&rsquo;\u00e9tude montre clairement que la compr\u00e9hension du cin\u00e9ma narratif repose sur tout un savoir pr\u00e9alable. D\u00e9plac\u00e9e ainsi de l&rsquo;\u00e9nonciation vers la cognition, la spectature se d\u00e9finit comme une interaction avec le film.<\/p><p>Enfin, la derni\u00e8re partie de la th\u00e8se emprunte une avenue th\u00e9orique que les \u00e9tudes cin\u00e9matographiques n&rsquo;ont pour ainsi dire pas explor\u00e9e : la notion de jeu. Parce qu&rsquo;il n&rsquo;a pas de mati\u00e8re et qu&rsquo;il oblige la reconnaissance de l&rsquo;esprit, le jeu permet de prolonger les r\u00e9flexions de la seconde partie. Cons\u00e9quemment, en reprenant l&rsquo;h\u00e9ritage de la th\u00e9orie philosophique du jeu (Johan Huizinga, Roger Caillois et Hans-Georg Gadamer), il s&rsquo;agit de d\u00e9finir les traits et les principes constitutifs de l&rsquo;activit\u00e9 ludique institu\u00e9e par le cin\u00e9ma narratif et de se r\u00e9f\u00e9rer, suivant Gadamer, \u00e0 une ontologie du film bas\u00e9e sur le jeu. Les films fictionnels et narratifs sont alors consid\u00e9r\u00e9s comme des parties-jeux et sont r\u00e9partis entre deux p\u00f4les : un p\u00f4le ludus-ilinx favorisant le plaisir gratuit de la vitesse et du vertige et un p\u00f4le ludus-ag\u00f4n qui n\u00e9cessite que le spectateur se creuse les m\u00e9ninges afin de comprendre une intrigue. Par ailleurs, en acceptant de prendre part \u00e0 une partie-jeu, le spectateur se plie d&rsquo;une fa\u00e7on ou d&rsquo;une autre \u00e0 un syst\u00e8me de r\u00e8gles. Je propose un syst\u00e8me compos\u00e9 de quatre r\u00e8gles : la r\u00e8gle de l&rsquo;attention, la r\u00e8gle de la signification, la r\u00e8gle de la configuration ainsi que la r\u00e8gle de la coh\u00e9rence. \u00c0 travers cette r\u00e9gulation, l&rsquo;activit\u00e9 perceptive et cognitive du spectateur se transforme en pure t\u00e2che ludique.<\/p><\/div><\/div><\/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>Projet R\u00e9alisations Publications Projet Projet sous la direction de\u00a0Bernard Perron\u00a0(2001-2004) C&rsquo;est la spectature-en-progression qui sous-tend ces recherches, \u00e0 savoir l&rsquo;activit\u00e9 perceptive et cognitive qu&rsquo;effectue le spectateur tout au long d&rsquo;un &#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":759,"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-427","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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