{"id":442,"date":"2024-05-14T21:00:48","date_gmt":"2024-05-14T21:00:48","guid":{"rendered":"https:\/\/www.ludov.ca\/?page_id=442"},"modified":"2026-02-03T11:49:50","modified_gmt":"2026-02-03T16:49:50","slug":"autres-recherches","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/fr\/observation\/autres-recherches\/","title":{"rendered":"Autres recherches"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"442\" class=\"elementor 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\">Bande dessin\u00e9e<\/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\">Cin\u00e9ma<\/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\">Culture num\u00e9rique<\/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\">Jeu et jeu vid\u00e9o<\/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\">Son et musique<\/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\">Th\u00e9\u00e2tre<\/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\">Critiques<\/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\">Bande dessin\u00e9e<\/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=\"1404\" class=\"elementor 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\">Bande dessin\u00e9e<\/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-5147\" 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. \u00ab Drawing (to) Fear and Horror: Into the Frame of Clive Barker\u2019s The Midnight Meat Train and Dread Comic and Film Adaptations \u00bb. Dans Sorcha N\u00ed Fhlainn (dir.), <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-1406\" 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. \u00ab Wandering the Panels, Walking Through Media: Zombies, Comic Books and the Post-apocalyptic World \u00bb. Dans Jan-No\u00ebl Thon et Lukas R.A. Wilde (dir.),\u00a0<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\">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-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-1194\" 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 et Antonio Dominguez Leiva. 2015. \u00ab Les traits et trac\u00e9s des zombies b\u00e9d\u00e9iques \u00bb. Dans Bernard Perron, Samuel Archibald et Antonio Dominguez Leiva (dir.),\u00a0<em>Z pour Zombies<\/em>, p. 167-188.\u00a0Montr\u00e9al :\u00a0Presses 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-1060\" 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, et Pierre Chemartin. 2009. \u00ab To Switch back (and Forth): Early Cases of Alternation in Comics and Cinema \u00bb. Dans\u00a0L. Quaresima, L.S. Sangalli et F. Zecca (dir.),\u00a0<em>Cinema e Fumetto\/Cinema and Comics<\/em>, p. 115-134.\u00a0Udine :\u00a0Forum.<\/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-1060\" 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. \u00ab Entre bande dessin\u00e9e, cin\u00e9ma et fiction interactive : l\u2019\u00e9cran divis\u00e9 du BDVD \u00bb. Dans\u00a0L. Quaresima, L.S. Sangalli et F. Zecca (dir.),\u00a0<em>Cinema e Fumetto\/Cinema and Comics<\/em>, p. 609-626.\u00a0Udine :\u00a0Forum.<\/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-1408\" 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, et Pierre Chemartin. 2007. \u00ab De la vignette \u00e0 la vue et vice-versa : l\u2019alternance avant le montage altern\u00e9 \u00bb.\u00a0<em>Cin\u00e9ma &amp; Cie.<\/em>, n\u00b0 10 (printemps), 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><\/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\">Cin\u00e9ma<\/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=\"1414\" class=\"elementor 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\">Cin\u00e9ma<\/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-1416\" 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. \u00ab Remise en cause des mod\u00e8les et qu\u00eate de soi chez l&rsquo;adolescent japonais dans Neon Genesis Evangelion \u00bb. Dans\u00a0Jocelyn Lachance, Hugues Paris et S\u00e9bastien Dupont (dir.),\u00a0<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.\u00a0Qu\u00e9bec :\u00a0Les 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-1408\" 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, et Nicolas Dulac. 2007. \u00ab Pr\u00e9sentation \u00bb.\u00a0<em>Cin\u00e9ma &amp; Cie.<\/em>, n\u00b0 10 (printemps), 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-1420\" 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. \u00ab Pr\u00e9sentation \u00bb.\u00a0<em>Cin\u00e9mas :<\/em><i>\u00a0Cin\u00e9ma et cognition<\/i>, vol. 12, n\u00b0 2 (hiver), 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-1420\" 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. \u00ab Faire le tour de la question \u00bb.\u00a0<em>Cin\u00e9mas :\u00a0<\/em><i>Cin\u00e9ma et cognition<\/i>, vol. 12, n\u00b0 2 (hiver), 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-1422\" 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. \u00ab Le petit glossaire \u201ccin\u00e9matographique\u201d de la science cognitive \u00bb.\u00a0<em>Cin\u00e9mas :\u00a0<\/em><i>Eisenstein dans le texte<\/i>, vol. 11, n\u00b0 2-3 (printemps), 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-1424\" 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. \u00ab Alain Cavalier : visage de style \u00bb.\u00a0<em>Revue canadienne d\u2019\u00e9tudes cin\u00e9matographiques<\/em>, vol. 5, n\u00b0 1 (printemps), 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-1426\" 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. \u00ab Focalisation: un d\u00e9tour par la sc\u00e9naristique \u00bb.\u00a0<em>\u00c9tudes litt\u00e9raires :<\/em><i>\u00a0Le sc\u00e9nario de film<\/i>, vol. 26, n\u00b0 2 (automne), 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><\/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\">Culture num\u00e9rique<\/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=\"1432\" class=\"elementor 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\">Culture num\u00e9rique<\/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-1268\" 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. \u00ab Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead \u00bb. Dans<em>\u00a0<\/em>Marta Boni (dir.),\u00a0<em>World Building. Transmedia, Fans, Industries<\/em>. Amsterdam :\u00a0Amsterdam 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-1046\" 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, et Federico Giordano (dir.). 2014.\u00a0<em>The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present.<\/em>\u00a0Milan :\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-1046\" 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, et Federico Giordano. 2014. \u00ab Preserving and Organizing the New Media Contents: Traditional Archive, Mobile and Living Archive or Anarchive \u00bb.\u00a0<em>The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present<\/em>, Bernard Perron et Federico Giordano (dir.), p. 9-21.\u00a0Milan\u00a0: 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-1436\" 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, et Dominic Arsenault. 2011.\u00a0\u00ab La l\u00e9gitimation culturelle \u00bb.\u00a0<i>Kinephanos<\/i>, vol. 2. [<a href=\"https:\/\/www.kinephanos.ca\/2011\/la-legitimation-culturelle-cultural-legitimization\/\" 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>\u00c0 travers ce num\u00e9ro, nous proposons d\u2019examiner cinq types de processus de l\u00e9gitimation. Il y a la l\u00e9gitimation, et par le fait m\u00eame la canonisation, d\u2019\u0153uvres par des relations d\u2019intertextualit\u00e9 complexes; car faire circuler une \u0153uvre revient dans une large mesure \u00e0 l\u2019inscrire dans la m\u00e9moire collective. On peut \u00e9galement vouloir l\u00e9gitimer une pratique ou une forme artistique \u00e9mergente, \u00e0 grands renforts de rh\u00e9torique aupr\u00e8s d\u2019instances de l\u00e9gitimation : cela fut le cas notamment du cin\u00e9ma comme \u00ab th\u00e9\u00e2tre film\u00e9 \u00bb, et un si\u00e8cle plus tard du jeu vid\u00e9o comme \u00ab cin\u00e9ma interactif \u00bb. Un troisi\u00e8me processus de l\u00e9gitimation d\u00e9coule peut-\u00eatre davantage de la r\u00e9volution num\u00e9rique : le d\u00e9clin de la culture \u00ab l\u00e9gitime \u00bb, r\u00e9solument en perte de vitesse devant la prolif\u00e9ration de sous-cultures \u00e0 la fois plus segment\u00e9es mais hyper-accessibles. Il y a place \u00e0 un quatri\u00e8me processus de l\u00e9gitimation ancr\u00e9 dans la popularisation de figures textuelles ou de m\u00e9canismes formels jusqu\u2019alors r\u00e9serv\u00e9s \u00e0 des productions marginales. Le rapport de forces entre l\u2019Institution et les multiples instances populaires s\u2019en trouve renvers\u00e9, et la hi\u00e9rarchie culturelle, dissoute. Le cinqui\u00e8me processus de l\u00e9gitimation en est un qui s\u2019effectue malgr\u00e9 lui : r\u00e9unir des art\u00e9facts culturels en un m\u00eame lieu, m\u00eame si ceux-ci ne pr\u00e9sentent aucune coh\u00e9rence stylistique, tend vers une compr\u00e9hension \u00ab officielle \u00bb et englobante de ces art\u00e9facts.<\/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-1436\" 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, et Marc Joly-Corcoran. 2009. \u00ab Imageries num\u00e9riques : culture et r\u00e9ception : Pr\u00e9sentation \u00bb.\u00a0<em>Kinephanos<\/em>, vol. 1, n\u00ba 1 (d\u00e9cembre). [<a title=\"\" href=\"https:\/\/www.kinephanos.ca\/2009\/imageries-numeriques-culture-et-reception-digital-imageries-culture-and-reception\/\" 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\t\t<\/div>\n\t\t<\/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=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-1394\" aria-expanded=\"false\">Jeu et jeu vid\u00e9o<\/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=\"1445\" class=\"elementor 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\">Jeu vid\u00e9o<\/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-1447\" 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, et Jonathan Lessard. 2018. \u00ab Introduction \u00e0 la section 3 : histoire et jeux vid\u00e9o : construction, strat\u00e9gie et aventure \u00bb. Dans Marc-Andr\u00e9 \u00c9thier, David Lefran\u00e7ois et Alexandre Joly-Lavoie\u00a0(dir.),\u00a0<i>Mondes profanes: Enseignement, fiction et histoire<\/i>. Qu\u00e9bec :\u00a0Presses de l\u2019Universit\u00e9 Laval. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Arsenault_Lessard_Mondes_profanes_intro.pdf\" target=\"\">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-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-1436\" 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 (dir.). 2017. \u00ab<i>\u00a0<\/i>\u201cIt\u2019s [not just] in the game\u201d: the promotional context of video games \/ le contexte promotionnel des jeux vid\u00e9o \u00bb.\u00a0<i>Kinephanos,\u00a0<\/i>vol. 7, n\u00b0 1 (novembre). [<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=\"\">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-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-1449\" 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, et Felix Schr\u00f6ter. 2016.\u00a0\u00ab Introduction: Video Games, Cognition, Affect and Emotion \u00bb. Dans\u00a0Bernard\u00a0Perron et Felix Schr\u00f6ter (dir.),\u00a0<em>Video Games and the Mind. Essays on Cognition, Affect and Emotion<\/em>, p. 1-13.\u00a0Jefferson :\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-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-1449\" 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.\u00a0\u00ab Emotions in Video Games : Are You Concerned? \u00bb. Dans\u00a0Bernard\u00a0Perron et Felix Schr\u00f6ter (dir.),\u00a0<em>Video Games and the Mind. Essays on Cognition, Affect and Emotion<\/em>, p. 189-209<em>.<\/em>\u00a0Jefferson :\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-1452\" 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, et Maude\u00a0Bonenfant. 2016. \u00ab Dire, faire et \u00eatre par les jeux vid\u00e9o : L&rsquo;\u00e9thique et la performativit\u00e9 au prisme des rh\u00e9toriques proc\u00e9durale et processuelle \u00bb.\u00a0<i>Implications philosophiques<\/i>,\u00a0(juillet-ao\u00fbt). [<a title=\"\" href=\"https:\/\/www.implications-philosophiques.org\/dire-faire-etre-ethique-performativite-et-rhetoriques-procedurale-et-processuelle-dans-les-jeux-video\/\" 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-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-1454\" 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, et Benoit Melan\u00e7on. 2016.\u00a0\u00ab\u00a0L&rsquo;art en jeu ou le jeu de l&rsquo;art \u00bb.\u00a0<em>Sciences du jeu<\/em>, n\u00b0 6. [<a title=\"\" href=\"https:\/\/journals.openedition.org\/sdj\/669\" 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-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-1454\" 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.\u00a0\u00ab Rejouer le m\u00eame r\u00e9cit dans diff\u00e9rentes adaptations ludiques de l\u2019univers de J.R.R. Tolkien \u00bb.\u00a0<em>Sciences du jeu<\/em>, n\u00b0 5. [<a href=\"https:\/\/sdj.revues.org\/575\" 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-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-1456\" 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, et Jonathan Lessard. 2016. \u00ab The Character as Subjective Interface \u00bb.<i>\u00a0<\/i>Actes du colloque \u00ab\u00a0The Ninth International Conference on Interactive Digital Storytelling (ICIDS) \u00bb, Los Angeles :\u00a0University 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-1458\" 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, et Louis-Martin Guay. 2015. \u00ab Canada \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<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>+ 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>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-1460\" 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, et Bernard Perron. 2015.\u00a0\u00ab De-Framing Video Games from the Light of Cinema \u00bb.\u00a0<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=\"\">En ligne<\/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>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-1469\" 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, et J\u00e9r\u00e9mie Pelletier-Gagnon. 2015. \u00ab Beyond\u00a0<em>Rapelay<\/em>: Self-regulation in the Japanese Erotic Video Game Industry \u00bb. Dans Matthew Wysocki and Evan W. Lauteria (dir.),\u00a0<em>Rated M for Mature: Sex and Sexuality in Video Games<\/em>, p. 28-41.\u00a0London :\u00a0Bloomsbury.<\/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-1471\" 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. \u00ab Identit\u00e9(s) du joueur et du personnage. Au-del\u00e0 de l\u2019analyse mim\u00e9tique des jeux vid\u00e9o \u00bb. Dans Charles Perraton et Maude Bonenfant (dir.),\u00a0<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-1296\" 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, et Mark J.P. Wolf (dir.). 2014.\u00a0<em>The Routledge Companion to Video Game Studies.<\/em>\u00a0New 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-1296\" 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. \u00ab Narratology \u00bb. Dans Mark J.P. Wolf et B. Perron (dir.),\u00a0<em>The Routledge Companion to Video Game Studies<\/em>, p.475-483. New York\u00a0:\u00a0Routledge.<\/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>+ En savoir plus<\/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-1296\" 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. \u00ab Levels \u00bb. Dans Bernard Perron et Mark J.P. Wolf,\u00a0<em>The Routledge Companion of Video Game Studies<\/em>, p. 99-105<em>.\u00a0<\/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-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-1296\" 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. \u00ab Emulation \u00bb. Dans Mark J.P. Wolf et Bernard Perron (dir.),\u00a0<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-1296\" 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. \u00ab Strategy \u00bb. Dans Mark J.P. Wolf et Bernard Perron (dir.),\u00a0<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-1311\" 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. \u00ab The Heuristic Circle of Real-Time Strategy Process: A\u00a0<i>StarCraft: Brood War<\/i>\u00a0Case Study \u00bb.\u00a0<em>Game Studies<\/em>, vol. 14, n\u00b0 1 (ao\u00fbt). [<a title=\"\" href=\"http:\/\/gamestudies.org\/1401\/articles\/dor\" 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-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-1436\" 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. \u00ab A History of Real-Time Strategy Gameplay From Decryption to Prediction: Introducing the Actional Statement \u00bb.\u00a0<em>Kinephanos<\/em>, hors-s\u00e9rie (janvier), p. 58-73. [<a href=\"https:\/\/www.kinephanos.ca\/2014\/real-time-strategy\/\" 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-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-1454\" 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, et Gilles Broug\u00e8re. 2013.\u00a0\u00ab Editorial : Pour une \u201cFrench Touch\u201d des \u00e9tudes sur le jeu \u00bb.\u00a0\u00a0<em>Sciences du jeu<\/em>, n\u00b0 1 (Automne).\u00a0 [<a href=\"https:\/\/sdj.revues.org\/197\" 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-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-1454\" 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.\u00a0\u00ab L\u2019attitude de Jacques Henriot \u00bb.\u00a0<em>Sciences du jeu<\/em>, n\u00b0 1 (Automne).\u00a0 [<a href=\"https:\/\/sdj.revues.org\/216\" 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-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-1474\" 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. \u00ab 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 \u00bb. Dans R. Bourassa et L. Poissant (dir.),\u00a0<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>+ En savoir plus<\/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-1311\" 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.\u00a0\u00ab The Foundation of Geemu: A Brief History of Japanese Video Games \u00bb.\u00a0<em>Game Studies: the international journal of computer game research<\/em>, vol. 13, n\u00ba 1 (d\u00e9cembre). [<a title=\"\" href=\"http:\/\/gamestudies.org\/1302\/articles\/picard\" 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-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-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-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, et Vincent Mauger. 2012. \u00ab Au-del\u00e0 de \u2018l\u2019envie cin\u00e9matographique\u2019 : le complexe transm\u00e9diatique d\u2019Assassin\u2019s Creed \u00bb.\u00a0<em>Nouvelles vues : revue sur les pratiques et les th\u00e9ories du cin\u00e9ma au Qu\u00e9bec<\/em>, n\u00b013 (hiver-printemps). [<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\">En ligne<\/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>+ En savoir plus<\/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&rsquo;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&rsquo;s Creed, qui s&rsquo;inscrit dans un contexte techno-historico-culturel bien pr\u00e9cis : celui des technologies de l&rsquo;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&rsquo;s Creed: Lineage, r\u00e9alis\u00e9s par Yves Simoneau et Hybride Technologies, et diffus\u00e9s gratuitement sur YouTube dans le but d&rsquo;attiser l&rsquo;int\u00e9r\u00eat des joueurs avant la sortie du jeu Assassin&rsquo;s Creed II. De toutes les d\u00e9clinaisons m\u00e9diatiques de la franchise Assassin&rsquo;s Creed \u00e0 ce jour, c&rsquo;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&rsquo;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&rsquo;abord \u00e0 la relation entre ces deux arts, que l&rsquo;on peut envisager sous deux paradigmes : celui de la rem\u00e9diatisation et celui de la transm\u00e9dialit\u00e9; puis, nous traiterons du cas Assassin&rsquo;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&rsquo;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-1050\" 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. \u00ab Nintendo Entertainment System \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<em>The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 2, p. 449-456.\u00a0Santa Barbara :\u00a0ABC-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-1050\" 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. \u00ab Super Nintendo Entertainment System \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<em>The Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 2, p. 634-636.\u00a0Santa Barbara :\u00a0ABC-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-1050\" 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. \u00ab Roger Caillois \u00bb, \u00ab Joahn Huizinga \u00bb et \u00ab Magic Circle \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<em>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1, p. 85-87, 305-307 et 369-370.\u00a0Westport :\u00a0Greenwood 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-1137\" 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, et Maude Bonenfant. 2012. \u00ab Poiesis and Imagination in the Aesthetic Experience: The Moment of Grace in Computer Game Play \u00bb. Actes du colloque \u00ab The Philosophy of Computer Games 2012 \u00bb. [<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\">En ligne<\/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>+ En savoir plus<\/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-1050\" 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. \u00ab Art \u00bb, \u00ab I, Robot \u00bb, \u00ab Japan \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<em>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1, p. 38-39, 307-308 et 334-337.\u00a0Wesport :\u00a0Greenwood 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-1050\" 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 \u00ab\u00a0<em>Metal Gear<\/em>\u00a0Series \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<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-1050\" 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. \u00ab Cartridges \u00bb, \u00ab Emulators \u00bb, \u00ab MAME \u00bb, \u00ab\u00a0<em>StarCraft<\/em>\u00a0\u00bb. Dans Mark J.P. Wolf (dir.),<em>\u00a0Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/em>, vol. 1 et 2, p. 92-93, 192-194, 423-425 et 624-626. Westport : Greenwood Press et Santa Barbara :\u00a0ABC-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-1482\" 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. \u00ab De la strat\u00e9gie et de la tactique. La ruse dans les jeux de strat\u00e9gie en temps r\u00e9el \u00bb. Dans Charles Perraton et Maude Bonenfant (dir.),\u00a0<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-1484\" 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. \u00ab Le lecteur de th\u00e9orie du jeu vid\u00e9o \u00bb. Dans S. Craipeau, S. Genvo., B. Simonnot (dir.),\u00a0<em>Questions de communication :<\/em><i>\u00a0Les jeux vid\u00e9o au croisement du social, de l&rsquo;art et de la culture<\/i>,\u00a0 S\u00e9rie actes 8 (juin), p.15-26.\u00a0Nancy : 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-1270\" 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. \u00ab Introduction \u00e0 la pragmatique des effets g\u00e9n\u00e9riques : l\u2019horreur dans tous ses \u00e9tats \u00bb.\u00a0<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\">En ligne<\/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>+ En savoir plus<\/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&rsquo;une nouvelle approche th\u00e9orique de la question du genre, la pragmatique des effets g\u00e9n\u00e9riques. Dans ce cadre, le genre s&rsquo;exprime dans des effets g\u00e9n\u00e9riques qui se manifestent ponctuellement \u00e0 travers la s\u00e9quence s\u00e9miotique d&rsquo;un objet culturel, que le lecteur\/spectateur\/joueur peut reconna\u00eetre et qui modulent \u00e0 la fois son horizon d&rsquo;attentes et sa compr\u00e9hension cognitive de l&rsquo;objet. La pertinence et les ramifications de cette approche sont d\u00e9montr\u00e9es \u00e0 l&rsquo;aide d&rsquo;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&rsquo;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-1383\" 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, et Mark J.P. Wolf (dir.). 2009.\u00a0<em>The Video Game Theory Reader 2<\/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-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-1383\" 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, et Bernard Perron. 2009. \u00ab In the Frame of the Magic Cycle: The Circle(s) of Gameplay \u00bb. Dans Bernard Perron et Mark J. P. Wolf (dir.),\u00a0<em>The Video Game Theory Reader 2<\/em>, p. 109-131.\u00a0New 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-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-1383\" 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, et Mark J.P. Wolf. 2009. \u00ab Introduction \u00bb. Dans Bernard Perron et Mark J.P. Wolf,\u00a0<em>The Video Game Theory Reader 2<\/em>, p. 1-21.\u00a0New York\u00a0: 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-1383\" 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, et Mark J.P Wolf. 2009. \u00ab Appendix \u2013 Video Games Through Theories and Discipline: Medecine \u00bb. Dans Bernard Perron et Mark J.P. Wolf,\u00a0<em>The Video Game Theory Reader 2<\/em>,\u00a0p. 306-307. New York\u00a0: 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-1090\" 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. \u00ab Art\/Aesthetics in Video Games \u00bb. Dans Bernard Perron et Mark J.P. Wolf (dir.),\u00a0<em>The Video Game Theory Reader<\/em>, p. 333-334.\u00a0New York\u00a0: 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-1383\" 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. \u00ab Film Studies \u00bb. Dans Bernard Perron et Mark J. P. Wolf (dir.),\u00a0<em>The Video Game Theory Reader 2<\/em>, p. 349-350.\u00a0New York\u00a0:\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-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-1488\" 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 :\u00a0VDM 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-1078\" 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. \u00ab Company Profile: Nintendo \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p.113-114. Westport\u00a0:\u00a0Greenwood 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-1078\" 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. \u00ab System Profile: The Nintendo Entertainment System \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p.109-114. Westport\u00a0:\u00a0Greenwood 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-1078\" 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\t<p><span style=\"color: #222222; font-family: 'Helvetica Neue', Helvetica, Helvetica, Arial, sans-serif; text-align: justify;\">Arsenault, Dominic. 2007. \u00ab System Profile: Sony PlayStation \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<\/span><em style=\"line-height: inherit; color: #222222; font-family: 'Helvetica Neue', Helvetica, Helvetica, Arial, sans-serif; text-align: justify;\">The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em><span style=\"color: #222222; font-family: 'Helvetica Neue', Helvetica, Helvetica, Arial, sans-serif; text-align: justify;\">, p.177-182. Westport\u00a0<\/span><span style=\"color: inherit; font-family: 'Helvetica Neue', Helvetica, Helvetica, Arial, sans-serif; text-align: justify;\">:<\/span><span style=\"color: inherit; font-family: 'Helvetica Neue', Helvetica, Helvetica, Arial, sans-serif; text-align: justify;\">\u00a0Greenwood Press.<\/span><\/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-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-1078\" 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. \u00ab The Video Game as an Object of Controversy \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<em>The Video Game Explosion: A History from PONG to PlayStation and Beyond<\/em>, p. 277-281. Westport\u00a0:\u00a0Greenwood 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-1137\" 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, et Martin Picard. 2007. \u00ab Le jeu vid\u00e9o entre d\u00e9pendance et plaisir immersif : les trois formes d\u2019immersion vid\u00e9oludique \u00bb.\u00a0<em>Le jeu vid\u00e9o: un ph\u00e9nom\u00e8ne social massivement pratiqu\u00e9?<\/em>.\u00a0Actes du colloque\u00a0\u00ab 75i\u00e8me congr\u00e8s de l&rsquo;ACFAS \u00bb, 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-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-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, et Bernard Perron. 2006. \u00ab L&#8217;empire vid\u00e9oludique : comment les jeux vid\u00e9o ont conquis l&rsquo;univers de Star Wars \u00bb.\u00a0<em>D\u00e9cadrages<\/em>, Dossier : Le monde de Star Wars, vol.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-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-1385\" 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. \u00ab Jeu vid\u00e9o et \u00e9motions \u00bb. Dans S\u00e9bastien Genvo (dir.),\u00a0<em>Le game design de jeux vid\u00e9o<\/em>.\u00a0<em>Approches de l\u2019expression vid\u00e9o-ludique<\/em>, p. 347-366.\u00a0Paris :\u00a0\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-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-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. \u00ab Abstract of Dynamic Range: When Game Design and Narratives Unite \u00bb. Actes du colloque \u00ab DIGRA 2005 \u00bb (Vancouver), Simon Fraser University. [<a title=\"\" href=\"https:\/\/dl.digra.org\/index.php\/dl\/article\/view\/191\" 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-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-1137\" 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. \u00ab Dark Waters: Spotlight on Immersion \u00bb. p.50-52.\u00a0Actes du colloque \u00ab Game On North America 2005 \u00bb (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-1090\" 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, et Mark J.P. Wolf (dir.). 2003.\u00a0<em>The Video Game Theory Reader<\/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-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-1090\" 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, et Mark J.P. Wolf. 2003. \u00ab Introduction \u00bb. Dans Bernard Perron et Mark J.P. Wolf (dir.),\u00a0<em>The Video Game Theory Reader<\/em>, p. 1-24. New York\u00a0: 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-1501\" 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. \u00ab Un regard ludique sur la ville. Se perdre dans le Los Angeles futuriste du jeu vid\u00e9o\u00a0<em>Blade Runner\u00a0<\/em>\u00bb.\u00a0<em>Cahier du Gerse : Montr\u00e9al entre ville et cin\u00e9ma.\u00a0<\/em><i>Du cin\u00e9ma et des restes urbains prise 3<\/i>,\u00a0\u00a0n\u00b0 4 (hiver),\u00a0p. 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><\/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\">Son et musique<\/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=\"1504\" class=\"elementor 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\">Son et musique<\/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-1508\" 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. \u00ab Sound and the Videoludic Experience \u00bb. Dans Bill Kapralos, Karen Collin et Holly Tessler (dir.),\u00a0<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-1137\" 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, et Louis-Martin Guay. 2013. \u00ab RocKonf\u00e9rence sur la cr\u00e9ation et les hybridations historiques, esth\u00e9tiques et culturelles entre heavy metal et jeu vid\u00e9o \u00bb. Dans Serge Cardinal\u00a0(dir.).\u00a0Actes du colloque \u00ab La cr\u00e9ation sonore et l\u2019OICRM (Observatoire Interdisciplinaire de Cr\u00e9ation et de Recherche en Musique) \u00bb (Montr\u00e9al,15 mars 2013),\u00a0Carrefour 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-1510\" 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\tArsenault, Dominic, et Louis-Martin Guay. 2012. \u00ab Thumb-Bangers: Exploring the Cultural Bond between Video Games and Heavy Metal \u00bb. Dans Andy R. Brown et Kevin Fellezs (dir.),\u00a0\u00a0<em>Heavy Metal Generations<\/em>,\u00a0p.105-115. Oxford :\u00a0Inter-Disciplinary Press.\n<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>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseSecond\" class=\"collapse in\" aria-labelledby=\"headingSecond\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nHeavy 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.\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-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-1050\" 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. \u00ab Sound \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<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-1512\" 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.\u00a0\u00ab Listening to Fear: A Study of Sound in Horror Computer Games \u00bb. Dans Mark Grimshaw (dir.),\u00a0<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-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-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. \u00ab Guitar Hero: Not Like Playing Guitar At All? \u00bb.\u00a0<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\">En ligne<\/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>+ En savoir plus<\/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-1516\" 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. \u00ab Paysages 8-Bit: musicalit\u00e9 et spatialit\u00e9 dans le jeu vid\u00e9o des ann\u00e9es 1985-1990 \u00bb.<em>\u00a0Inter<\/em>, no 98 (hiver), 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-1518\" 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. \u00ab The First\u00a0<em>Transi-Sounds<\/em>\u00a0of Parallel Editing \u00bb. Dans Richard Abel et Rick Altman (dir.),\u00a0\u00a0<em>The Sounds of Early Cinema<\/em>,\u00a0p. 79-86.\u00a0\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<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-1518\" 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. \u00ab Les transi-sons du cin\u00e9ma des premiers temps \u00bb. Dans\u00a0<em>Cinema<\/em>, Richard Abel et Rick Altman,\u00a0<em>The Sounds of Early,<\/em>\u00a0p. 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><\/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\">Th\u00e9\u00e2tre<\/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=\"1524\" class=\"elementor 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\">Culture num\u00e9rique<\/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-1526\" 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. \u00ab L&rsquo;amour impossible entre le th\u00e9\u00e2tre et le cin\u00e9ma: \u00e9rotisme et imaginaire du\u00a0<em>bunraku<\/em>\u00a0dans\u00a0<em>Dolls<\/em>\u00a0de Takeshi Kitano \u00bb.\u00a0<em>Coulisses<\/em>, n\u00b0 33 (janvier), 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-1528\" 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. \u00ab L\u2019alternance du\u00a0<em>M\u00e9decin du ch\u00e2teau<\/em>\u00a0: sc\u00e8ne\/hors-sc\u00e8ne \u00bb. Dans Michel Marie et Laurent Le Forestier (dir.),\u00a0<i>F<\/i><em>irme Path\u00e9 Fr\u00e8res (1896-1914)<\/em>,\u00a0\u00a0p. 165-176.\u00a0Paris :\u00a0Association 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><\/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\">Critiques<\/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=\"1535\" class=\"elementor 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\">Critiques, comptes rendus, rapports, billets<\/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-1537\" 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. \u00ab Documentation, Periodization, Regionalization, and Marginalization : Four Challenges for Video Game Historiography \u00bb.\u00a0<i>First-Person Scholar<\/i>,\u00a0(29 novembre). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/documentation-periodization-regionalization-and-marginalization\/\" 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-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-1537\" 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. \u00ab\u00a0<i>Shovel Knight<\/i>\u00a0Redug : The Retro Game as Hypertext and Uchronia \u00bb.\u00a0<i>First-Person Scholar<\/i>, (16 novembre). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/shovel-knight-redug\/\" 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-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-1537\" 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\tArsenault, Dominic, et Audrey Larochelle. 2014. \u00ab Game Studies : From Colonization to Columbian Exchange \u00bb.\u00a0<em>First-Person Scholar<\/em>, (18 juin). [<a title=\"\" href=\"http:\/\/www.firstpersonscholar.com\/game-studies\/\" target=\"_blank\" rel=\"noopener\">En ligne<\/a>]\n<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>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseFPS\" class=\"collapse in\" aria-labelledby=\"headingFPS\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nTo 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.\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-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-1547\" 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 et Bernard Perron. 2014. \u00ab Les jeux vid\u00e9o au c\u0153ur de l\u2019art, de la culture et de la soci\u00e9t\u00e9 \u00bb.\u00a0<em>Variations : Objets et savoirs<\/em>, no.1. Qu\u00e9bec :\u00a0Mus\u00e9es de la civilisation. [<a href=\"https:\/\/umontreal.scholaris.ca\/bitstreams\/47eee47a-fa04-4871-bb68-4607617c5a13\/download\" target=\"_blank\" rel=\"noopener\">En ligne<\/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>+ En savoir plus<\/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>Quels sont les effets des jeux vid\u00e9o sur les individus? Quelles sont les mutations en cours dans le monde des jeux vid\u00e9o? Quels types de culture et de soci\u00e9t\u00e9 instaurent les jeux vid\u00e9o? Voil\u00e0 des questions qui trouvent r\u00e9ponse dans ce premier num\u00e9ro de la s\u00e9rie. Il comporte des textes de recherche qui ont nourri les contenus de l&rsquo;exposition Une histoire de jeux vid\u00e9o, pr\u00e9sent\u00e9e au Mus\u00e9e de la civilisation. Ces textes sont sign\u00e9s Fr\u00e9d\u00e9rick Maheux et Andr\u00e9ane Morin-Simard, avec la collaboration de Dominic Arsenault et Bernard Perron, du D\u00e9partement d&rsquo;histoire de l&rsquo;art et d&rsquo;\u00e9tudes cin\u00e9matographiques de l&rsquo;Universit\u00e9 de Montr\u00e9al, et l&rsquo;appui de Pierrette Lafond, Aude Porcedda et Mathieu Viau-Courville, charg\u00e9s de recherche aux 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-1436\" 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. \u00ab Fantasia \u2013 Premi\u00e8re internationale de Angry Video Game Nerd: The Movie \u2013 Une critique sans spoilers \u00bb.\u00a0<i>Kinephanos<\/i>, (29 juillet). [<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\">En ligne<\/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>+ En savoir plus<\/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 m\u2019appara\u00eet comme un cin\u00e9aste de talent qui a prouv\u00e9 sa ma\u00eetrise de l\u2019horreur et de la com\u00e9die. Mais il me semble que le film souffre d\u2019un conflit entre les ambitions de cin\u00e9aste de Rolfe et les origines et la formule du Nerd. Le Nerd n\u2019est peut-\u00eatre pas le bon v\u00e9hicule pour les ambitions cin\u00e9matographiques de Rolfe.\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-1550\" 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\tArsenault, Dominic. 2013. \u00ab Post-narratology: A case for object-oriented narrative game studies \u00bb.\u00a0<i>MediaCommons<\/i>, (22 novembre). [<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\">En ligne<\/a>]\n<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>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseTWO\" class=\"collapse in\" aria-labelledby=\"headingTWO\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nNarratology 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.\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-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-1436\" 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\tPicard, Martin, et Dominic Arsenault. 2013. \u00ab Exposition \u2018\u2018Une histoire de jeux vid\u00e9o\u2019\u2019 au Mus\u00e9e de la Civilisation \u00e0 Qu\u00e9bec \u00bb.\u00a0<i>Kinephanos<\/i>, (21 ao\u00fbt). [<a href=\"https:\/\/www.kinephanos.ca\/2013\/exposition-une-histoire-de-jeux-au-musee-de-la-civilisation-a-quebec\/\" target=\"_blank\" rel=\"noopener\">En ligne<\/a>]\n<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>\n<div id=\"collapseFOUR\" class=\"collapse in\" aria-labelledby=\"headingFOUR\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nEn privil\u00e9giant une approche culturelle et esth\u00e9tique, l\u2019exposition retrace de mani\u00e8re pertinente les 40 ans (et plus) de l\u2019\u00e9volution du jeu vid\u00e9o, de 1972 (sortie de PONG) \u00e0 aujourd\u2019hui, l\u2019espace \u00e9tant divis\u00e9 en sept sections. Mais puisque le Mus\u00e9e de la civilisation a repris l\u2019exposition fran\u00e7aise, les consoles, les jeux et les paratextes nous proviennent tous de l\u2019Hexagone. Les souvenirs qu\u2019auront sans doute plusieurs visiteurs leur seront pr\u00e9sent\u00e9s, mais dans une version alternative, comme s\u2019ils se laissaient d\u00e9crire par le regard d\u2019un autre. C\u2019est sans doute le grand reproche qu\u2019on peut formuler \u00e0 cette exposition : l\u2019histoire de jeux vid\u00e9o qu\u2019elle pr\u00e9sente, ce n\u2019est pas tout \u00e0 fait la n\u00f4tre.\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-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-1436\" 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. \u00ab Eros &amp; Cie. &#8211; Critique Fantasia \u00bb.\u00a0<i>Kinephanos<\/i>, 28 juillet. [<a href=\"https:\/\/www.kinephanos.ca\/2013\/eros-et-cie-critique-fantasia\/\" target=\"_blank\" rel=\"noopener\">En ligne<\/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>+ En savoir plus<\/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\nCritiques de 11 courts-m\u00e9trages qu\u00e9b\u00e9cois pr\u00e9sent\u00e9s dans le cadre du Fantastique week-end du court m\u00e9trage qu\u00e9b\u00e9cois, dans un bloc titr\u00e9 Eros et cie. Bon choix de mots, puisque le d\u00e9sir et la sexualit\u00e9 figuraient dans tous les courts m\u00e9trages pr\u00e9sent\u00e9s, sans en \u00eatre le point focal dans chaque cas. J\u2019ai beaucoup appr\u00e9ci\u00e9 l\u2019ensemble de la projection. J\u2019ai eu, en particulier, trois coups de coeur, une d\u00e9ception, et deux r\u00e9v\u00e9lations.\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-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-1552\" 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. \u00ab De la bande passante \u00e0 la bande son : le CODE ORGAN \u00bb.\u00a0<i>CIAC<\/i>, n\u00b0 36. [<a href=\"https:\/\/ciac.ca\/documents\/magazine\/no_36\/en\/oeuvre2.htm\" target=\"_blank\" rel=\"noopener\">En ligne<\/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>+ En savoir plus<\/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 est une application Flash toute r\u00e9cente, une curiosit\u00e9 qui a fait des remous sur le Web d\u00e8s sa parution le 19 f\u00e9vrier 2010. Fonci\u00e8rement ludique, le Codeorgan peut \u00eatre \u00ab nourri \u00bb de n\u2019importe quelle adresse Web valide; apr\u00e8s analyse et selon un algorithme des concepteurs, il traduit le site en musique et permet \u00e0 l\u2019internaute de \u00ab l\u2019\u00e9couter \u00bb. Bien que s\u2019inscrivant dans l\u2019id\u00e9e g\u00e9n\u00e9rale de la musique informatique, le Codeorgan apporte une dimension sociale et collective \u00e0 ce qui \u00e9tait traditionnellement l\u2019affaire d\u2019un artiste. Car si les auteurs du Codeorgan ont d\u00e9finit ses r\u00e8gles, c\u2019est \u00e0 partir des donn\u00e9es pr\u00e9sentes (les diff\u00e9rentes pages Web qu\u2019ils ont consult\u00e9es pour tester leur application lors du d\u00e9veloppement) qu\u2019ils les ont \u00e9tablies pour obtenir certaines sonorit\u00e9s.<\/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><\/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>Bande dessin\u00e9e Cin\u00e9ma Culture num\u00e9rique Jeu et jeu vid\u00e9o Son et musique Th\u00e9\u00e2tre Critiques Bande dessin\u00e9e Comics Perron, Bernard. 2017. \u00ab\u00a0Drawing (to) Fear and Horror: Into the Frame of Clive &#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-442","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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