{"id":448,"date":"2024-05-14T21:03:23","date_gmt":"2024-05-14T21:03:23","guid":{"rendered":"https:\/\/www.ludov.ca\/?page_id=448"},"modified":"2026-03-23T17:24:05","modified_gmt":"2026-03-23T21:24:05","slug":"jeu-video-dhorreur","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/fr\/observation\/jeu-video-dhorreur\/","title":{"rendered":"Jeu vid\u00e9o d&rsquo;horreur"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"448\" class=\"elementor elementor-448\">\n\t\t\t\t<div class=\"elementor-element elementor-element-12ec5a9 e-con-full observation mobnopad e-flex e-con e-parent\" data-id=\"12ec5a9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-253d48d collection-tabs video-game-tabs elementor-tabs-view-horizontal elementor-widget elementor-widget-tabs\" data-id=\"253d48d\" 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-3901\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-3901\" aria-expanded=\"false\">Projet<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3902\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3902\" aria-expanded=\"false\">R\u00e9alisations<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3903\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3903\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3904\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3904\" aria-expanded=\"false\">\u00c9v\u00e9nements<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3905\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"5\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3905\" aria-expanded=\"false\">Liens pertients<\/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-3901\" aria-expanded=\"false\">Projet<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3901\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3901\" tabindex=\"0\" hidden=\"false\"><p>Projet sous la direction de\u00a0<a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#BernardPerron\" target=\"_blank\" rel=\"noopener\">Bernard Perron<\/a><\/p><p>Dans la mesure o\u00f9 la majorit\u00e9 des jeux vid\u00e9o repose sur la notion de survie, le jeu vid\u00e9o d\u2019horreur \u2013 et plus sp\u00e9cifiquement le\u00a0<i>survival horror<\/i>\u00a0\u2013 demeure \u00e0 tout prendre le genre vid\u00e9oludique par excellence. Du roman gothique aux r\u00e9cits de Poe, Lovecraft et King, des films de la Hammer \u00e0 la mode du\u00a0<i>slasher<\/i>, la litt\u00e9rature et le cin\u00e9ma d\u2019horreur ont suscit\u00e9 un vif int\u00e9r\u00eat aupr\u00e8s des chercheurs universitaires, et ce malgr\u00e9 leur caract\u00e8re \u00ab\u00a0populaire\u00a0\u00bb. Par contraste, le jeu vid\u00e9o d\u2019horreur n\u2019a r\u00e9ussi \u00e0 captiver que l\u2019int\u00e9r\u00eat du public, \u00e0 travers des s\u00e9ries bien connues comme\u00a0<i>Resident Evil<\/i>\u00a0et\u00a0<i>Silent Hill<\/i>\u00a0. Alors que les \u00e9tudes du jeu vid\u00e9o ont \u00e9t\u00e9 largement d\u00e9velopp\u00e9es depuis la fin des ann\u00e9es 1990, peu de projets de recherche s\u2019\u00e9taient int\u00e9ress\u00e9 \u00e0 un corpus vid\u00e9oludique de nature g\u00e9n\u00e9rique et rares \u00e9taient les publications prenant sp\u00e9cifiquement en consid\u00e9ration les jeux vid\u00e9o d\u2019horreur. Ce projet a permis de rem\u00e9dier \u00e0 la situation et de circonscrire le domaine du jeu vid\u00e9o d\u2019horreur par l\u2019entremise de trois axes de recherche concomitants : historique, interm\u00e9dial et g\u00e9n\u00e9rique.<\/p><p>Si l\u2019histoire du jeu vid\u00e9o d\u2019horreur existe d\u00e9j\u00e0, de mani\u00e8re implicite dans la communaut\u00e9 vid\u00e9oludique, une \u00e9tude historique approfondie et r\u00e9fl\u00e9chie n\u2019avait toujours pas \u00e9t\u00e9 men\u00e9 au d\u00e9but du projet. Une ludographie extensive et raisonn\u00e9e a donc \u00e9t\u00e9 constitu\u00e9e afin de mieux documenter le ph\u00e9nom\u00e8ne (cette derni\u00e8re est accessible via le volet Documentation du site LUDOV). L\u2019analyse du corpus a permis d\u2019expliciter l\u2019influence de la litt\u00e9rature et du cin\u00e9ma sur l\u2019horreur vid\u00e9oludique. Nous avons mis en lumi\u00e8re la sp\u00e9cificit\u00e9 des strat\u00e9gies de l\u2019horreur vid\u00e9oludique et l\u2019implication affective correspondante chez le joueur. Enfin, la notion esth\u00e9tique et discursive de \u00ab genre \u00bb a \u00e9t\u00e9 explor\u00e9e \u00e0 travers l\u2019\u00e9tude plus pointue du\u00a0<i>survival horror<\/i>.<\/p><h5 style=\"margin-top: 20px;\">Subvention Conseil de recherches en sciences humaines du Canada (CRSH) : \u00ab De la peur fictionnelle \u00e0 la peur vid\u00e9oludique : \u00e9tude g\u00e9n\u00e9rique du jeu vid\u00e9o d\u2019horreur \u00bb (2008-2011)<\/h5><h4>Auxiliaires<\/h4><ul><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#DominicArsenault\" target=\"_blank\" rel=\"noopener\">Dominic Arsenault<\/a>\u00a0(2007-2011)<\/li><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs\/#SimonDor\" target=\"_blank\" rel=\"noopener\">Simon Dor<\/a>\u00a0(2009-2011)<\/li><li>Andr\u00e9ane Morin-Simard\u00a0(2009-2011)<\/li><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#MartinPicard\" target=\"_blank\" rel=\"noopener\">Martin Picard<\/a>\u00a0(2007-2011)<\/li><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#GuillaumeRouxGirard\" target=\"_blank\" rel=\"noopener\">Guillaume Roux-Girard<\/a>\u00a0(2007-2011)<\/li><li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/fr\/universitaire\/chercheurs#CarlTherrien\" target=\"_blank\" rel=\"noopener\">Carl Therrien<\/a>\u00a0(2007-2011)<\/li><\/ul><\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3902\" aria-expanded=\"false\">R\u00e9alisations<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3902\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3902\" tabindex=\"0\" hidden=\"hidden\"><p>&#8211; Base de Donn\u00e9es :\u00a0<a id=\"Bibliographie du jeu vid\u00e9o d'horreur\" title=\"Bibliographie du jeu vid\u00e9o d'horreur\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/horreur\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Bibliographie du jeu vid\u00e9o d'horreur\">Bibliographie du jeu vid\u00e9o d&rsquo;horreur<\/a><\/p><p>&#8211; Base de Donn\u00e9es :\u00a0<a id=\"Ludographie du jeu vid\u00e9o d'horreur\" title=\"Ludographie du jeu vid\u00e9o d'horreur\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/ludographie_horreur\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Ludographie du jeu vid\u00e9o d'horreur\">Ludographie du jeu vid\u00e9o d&rsquo;horreur<\/a><\/p><\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3903\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3903\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3903\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1222\" class=\"elementor elementor-1222\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6b19f2a e-con-full e-flex e-con e-parent\" data-id=\"6b19f2a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e216582 elementor-widget elementor-widget-text-editor\" data-id=\"e216582\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Livres et revues<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full e-flex e-con e-parent\" data-id=\"c1f9b00\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-89a4bbc elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"89a4bbc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"654\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-654x1024.jpg\" class=\"attachment-large size-large wp-image-1133\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-654x1024.jpg 654w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-192x300.jpg 192w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron.jpg 690w\" sizes=\"(max-width: 654px) 100vw, 654px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-df3d0b2 elementor-widget elementor-widget-text-editor\" data-id=\"df3d0b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-widget-container\">\n\nPerron, Bernard. 2018.\u00a0<i><a title=\"\" href=\"https:\/\/www.bloomsbury.com\/us\/the-world-of-scary-video-games-9781501316197\/\" target=\"\">The World of Scary Video Games: Study in Videoludic Horror<\/a><\/i>. New York : Bloomsbury.\n<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>\n<div id=\"collapseTen\" class=\"collapse in\" aria-labelledby=\"headingTen\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nAs for film and literature, the horror genre has been very popular in the video game. The World of Scary Video Games provides a comprehensive overview of the videoludic horror, dealing with the games labelled as \u201csurvival horror\u201d as well as the mainstream and independent works associated with the genre. It examines the ways in which video games have elicited horror, terror and fear since Haunted House (1981). Bernard Perron combines an historical account with a theoretical approach in order to offer a broad history of the genre, outline its formal singularities and explore its principal issues. It studies the most important games and game series, from Haunted House (1981) to Alone in the Dark (1992- ), Resident Evil (1996-present), Silent Hill (1999-present), Fatal Frame (2001-present), Dead Space (2008-2013), Amnesia: the Dark Descent (2010), and The Evil Within (2014). Accessibly written, The World of Scary Video Games helps the reader to trace the history of an important genre of the video game. Chapter 2 analyzes very closely how the label came to crystallize a common cultural consensus around what horror video games were, and was taken up as a universal term to name quite different games. It shows how the understanding of and the references to survival horror have not been the same, on the one hand, for journalists and reviewers who have witnessed its advent and followed the releases of games, and on the other hand, for scholars who aim to theorize and discuss these games in relation to a larger media landscape. And the term is certainly not as potent to younger gamers.\n\n<\/div>\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-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=\"127\" height=\"90\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Silent-Hill-VF.jpg\" class=\"attachment-full size-full wp-image-1191\" 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.\u00a0<i>Silent Hill : le moteur de la terreur<\/i>. Paris : Questions th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9222cc e-con-full e-flex e-con e-parent\" data-id=\"a9222cc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a1253ca elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a1253ca\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"122\" height=\"176\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Z-pour-zombies.jpg\" class=\"attachment-full size-full 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-fb19b3e elementor-widget elementor-widget-text-editor\" data-id=\"fb19b3e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Samuel Archibald et Antonio Dominguez Leiva (dir.). 2015.\u00a0<i>Z pour Zombies<\/i>. Montr\u00e9al : Presses de l&rsquo;Universit\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-58e8545 e-con-full e-flex e-con e-parent\" data-id=\"58e8545\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-68235bb elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"68235bb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"321\" height=\"475\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie.jpg\" class=\"attachment-large size-large wp-image-1196\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie.jpg 321w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie-203x300.jpg 203w\" sizes=\"(max-width: 321px) 100vw, 321px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6183f0a elementor-widget elementor-widget-text-editor\" data-id=\"6183f0a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Samuel Archibald et Antonio Dominguez Leiva (dir.). 2013.\u00a0<i>Otrante<\/i>.\u00a0<i>Po\u00e9tiques du zombie<\/i>, n\u00b0 33-34 (hiver), Paris : Editions Kim\u00e9.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6fd6a09 e-con-full e-flex e-con e-parent\" data-id=\"6fd6a09\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-958f326 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"958f326\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence.jpg\" class=\"attachment-large size-large wp-image-1198\" 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-8a8462e elementor-widget elementor-widget-text-editor\" data-id=\"8a8462e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Richard B\u00e9gin et Lucie Roy (dir.). 2013.\u00a0<i>Figures de violence<\/i>. Coll. \u00ab Esth\u00e9tiques \u00bb, Paris : L&rsquo;Harmattan.<\/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-9c7ddb9 e-con-full e-flex e-con e-parent\" data-id=\"9c7ddb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ce0b0e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3ce0b0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"253\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/SHbookcover252.jpg\" class=\"attachment-large size-large wp-image-1201\" 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-05323d4 elementor-widget elementor-widget-text-editor\" data-id=\"05323d4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2012.\u00a0<i><a href=\"https:\/\/press.umich.edu\/Books\/S\/Silent-Hill2\">Silent Hill: The Terror Engine<\/a><\/i>. Ann Arbor : University of Michigan Press.<\/p><div id=\"headingEleven\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseEleven\" aria-expanded=\"false\" aria-controls=\"collapseEleven\"><strong>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseEleven\" class=\"collapse in\" aria-labelledby=\"headingEleven\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Silent Hill: The Terror Engine, second ouvrage de la s\u00e9rie Landmark Video Games des directeurs Mark J.P. Wolf et Bernard Perron, propose un regard d&rsquo;ensemble sur la s\u00e9rie vid\u00e9oludique Silent Hill, en plus d\u2019offrir une analyse approfondie de ses trois premiers opus. Silent Hill, dont le premier titre est paru en 1999, est l&rsquo;une des s\u00e9ries les plus influentes du jeu vid\u00e9o d\u2019\u00e9pouvante. En scrutant l&rsquo;histoire du genre et en comparant Silent Hill avec d\u2019importants pr\u00e9curseurs tels qu\u2019Alone in the Dark et Resident Evil, Perron inscrit les jeux dans le genre du survival horror. En adoptant une approche transm\u00e9diale et en soulignant les influences cin\u00e9matographiques et litt\u00e9raires du concepteur, l\u2019auteur analyse la structure narrative, les techniques de mise en image, le son et la musique utilis\u00e9s, les m\u00e9caniques ludiques et les \u00e9motions fictionnelles, artistiques et vid\u00e9oludiques suscit\u00e9es par les jeux afin d&rsquo;explorer les peurs sp\u00e9cifiquement associ\u00e9es au survival horror et de r\u00e9fl\u00e9chir \u00e0 la mani\u00e8re par laquelle l&rsquo;exp\u00e9rience, dans son ensemble, a fait de la s\u00e9rie Silent Hill l&rsquo;un des principaux monuments de l&rsquo;histoire du jeu vid\u00e9o.<\/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-6802036 e-con-full e-flex e-con e-parent\" data-id=\"6802036\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ef60bab elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"ef60bab\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"575\" height=\"419\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD.jpg\" class=\"attachment-large size-large wp-image-1203\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD.jpg 575w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD-300x219.jpg 300w\" sizes=\"(max-width: 575px) 100vw, 575px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-65e58bc elementor-widget elementor-widget-text-editor\" data-id=\"65e58bc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard, Dominic Arsenault, Martin Picard, Guillaume Roux-Girard et Carl Therrien (dir.). 2010. \u00ab Thinking After Dark: Welcome to the World of Horror Video Games \u00bb.\u00a0<i>Loading&#8230; Journal of the Canadian Game Studies Association<\/i>, vol. 4, n\u00b0 6, Num\u00e9ro Sp\u00e9cial (avril). [<a title=\"Thinking After Dark\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/issue\/view\/TAD\" target=\"_blank\" rel=\"noopener\">En ligne<\/a>]\n\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-8dd7490 e-con-full e-flex e-con e-parent\" data-id=\"8dd7490\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e2cab0f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e2cab0f\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-e6eb8f1 elementor-widget elementor-widget-text-editor\" data-id=\"e6eb8f1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard (dir.). 2009.\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>. Jefferson : McFarland.<\/p><div id=\"headingTwelve\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseTwelve\" aria-expanded=\"false\" aria-controls=\"collapseTwelve\"><strong>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseTwelve\" class=\"collapse in\" aria-labelledby=\"headingTwelve\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Dans cette analyse critique et th\u00e9orique approfondie du genre de l&rsquo;horreur vid\u00e9oludique, quatorze essais explorent les fondements culturels qui motivent l&rsquo;attrait des joueurs pour l&rsquo;horreur ainsi que l&rsquo;\u00e9volution des th\u00e8mes de \u00ab survie \u00bb. Les techniques et les effets narratifs de jeux pr\u00e9cis \u2013 tels que Resident Evil, Call of Cthulhu et Silent Hill \u2013 sont individuellement examin\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<div class=\"elementor-element elementor-element-15d0c64 e-con-full e-flex e-con e-parent\" data-id=\"15d0c64\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8fb3ad7 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8fb3ad7\" 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=\"257\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Il-motore-del-terrore-2006.jpg\" class=\"attachment-large size-large wp-image-1207\" 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-a1be247 elementor-widget elementor-widget-text-editor\" data-id=\"a1be247\" 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.<i>\u00a0Silent Hill. Il motore del terrore<\/i>. Milan : Costa Nolan.<\/p><div id=\"headingThird\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseThird\" aria-expanded=\"false\" aria-controls=\"collapseThird\"><strong>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseThird\" class=\"collapse in\" aria-labelledby=\"headingThird\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>L\u2019investigation que propose Bernard Perron de la s\u00e9rie de Konami d\u00e9passe les traditionnelles approches de contrastes et de comparaisons avec des textes similaires, par exemple Resident Evil et Alone in the Dark. Son analyse transm\u00e9diale propose un voyage litt\u00e9raire, cin\u00e9matographique et ludique que ses lecteurs n\u2019oublieront pas de si t\u00f4t.<\/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-6968102 e-con-full e-flex e-con e-parent\" data-id=\"6968102\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6abd3ae elementor-widget elementor-widget-text-editor\" data-id=\"6abd3ae\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Chapitres de livre et articles<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-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=\"678\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-678x1024.jpg\" class=\"attachment-large size-large wp-image-1230\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-678x1024.jpg 678w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-199x300.jpg 199w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-768x1161.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead.jpg 800w\" sizes=\"(max-width: 678px) 100vw, 678px\" \/>\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. 2019. \u00ab The Pace and Reach of Video Game Zombies \u00bb. Dans Stephen J. Webley et Peter Zackariasson (dir.),\u00a0<i>The Playful Undead and Video Games. Critical Analyses of Zombies and Gameplay<\/i>, p.197-215. London : 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-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=\"600\" height=\"913\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille.jpg\" class=\"attachment-large size-large wp-image-1233\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille-197x300.jpg 197w\" 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-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. 2019. \u00ab L\u2019allure et la port\u00e9e des zombies vid\u00e9oludiques \u00bb. Dans Marie-Christine Lambert-Perreault, J\u00e9r\u00f4me-Olivier Allard et Simon Harel (dirs.),\u00a0<i>La mort intranquille: autopsie du zombie<\/i>, p. 147-174. Qu\u00e9bec : 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-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=\"840\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-975x1024.jpg\" class=\"attachment-large size-large wp-image-1235\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-975x1024.jpg 975w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-286x300.jpg 286w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-768x807.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-1462x1536.jpg 1462w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-1950x2048.jpg 1950w\" 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>Perron, Bernard. 2018. \u00ab Les r\u00e9gimes effrayants de la vision vid\u00e9oludique \u00bb. Dans Selim Krichane (dir.),\u00a0<em>D\u00e9cadrages<\/em>, n\u00b0 29 (Automne), p. 8-29. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrage_No_39-regimes_effrayants-2018.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-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=\"528\" height=\"800\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema.jpg\" class=\"attachment-large size-large wp-image-1237\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema.jpg 528w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema-198x300.jpg 198w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/>\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. 2018. \u00ab Le jeu vid\u00e9o d\u2019horreur : Quel cin\u00e9ma !? \u00bb. Dans Marion Poirson (dir.),\u00a0<i>Cin\u00e9mAction. Jeux vid\u00e9o et cin\u00e9ma: une cr\u00e9ation<\/i>, n\u00b0 168, p. 64-74.<\/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-632c6ad e-con-full e-flex e-con e-parent\" data-id=\"632c6ad\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b42a457 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b42a457\" 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=\"438\" height=\"627\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017.jpg\" class=\"attachment-large size-large wp-image-1239\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017.jpg 438w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017-210x300.jpg 210w\" sizes=\"(max-width: 438px) 100vw, 438px\" \/>\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-14647d8 elementor-widget elementor-widget-text-editor\" data-id=\"14647d8\" 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 Jean-Charles Ray. 2017. \u00ab Horror Video Games \u00bb. Dans Matt Cardin (dir.),\u00a0<i>Horror Literature through History: An Encyclopedia of the Stories that Speaks to our Deepest Fears<\/i>, p. 121-125. Santa Barbara : ABC-CLIO.<\/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-cf4d973 e-con-full e-flex e-con e-parent\" data-id=\"cf4d973\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-52d5d2b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"52d5d2b\" 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=\"268\" height=\"188\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Perron-Picard-Blanchet-Aventure-et-Guide-1.jpg\" class=\"attachment-large size-large wp-image-1246\" 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-74af7dd elementor-widget elementor-widget-text-editor\" data-id=\"74af7dd\" 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 Effrayantes aventures dans le champ aveugle du jeu vid\u00e9o et du cin\u00e9ma d\u2019horreur \u00bb. Dans Alexis Blanchet (dir.),\u00a0<i>Cin\u00e9ma et jeux vid\u00e9o<\/i>, p. 5-16. Paris : Questions Th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4491dda e-con-full e-flex e-con e-parent\" data-id=\"4491dda\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-538059e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"538059e\" 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=\"284\" height=\"425\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg\" class=\"attachment-large size-large wp-image-1248\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg 284w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture-200x300.jpg 200w\" sizes=\"(max-width: 284px) 100vw, 284px\" \/>\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-2eac0c7 elementor-widget elementor-widget-text-editor\" data-id=\"2eac0c7\" 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. [2005] 2016. \u00ab Coming to Play at Frightening Yourself: Welcome to the World of Horror Games \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<i>Video Games and Gaming Culture<\/i>, vol. 3, p. 181-196. 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-4578bea e-con-full e-flex e-con e-parent\" data-id=\"4578bea\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0df246e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"0df246e\" 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=\"284\" height=\"425\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg\" class=\"attachment-large size-large wp-image-1248\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg 284w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture-200x300.jpg 200w\" sizes=\"(max-width: 284px) 100vw, 284px\" \/>\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-8720ab9 elementor-widget elementor-widget-text-editor\" data-id=\"8720ab9\" 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] 2016. \u00ab Sign of a Threat: The Effects of Warning Systems in Survival Horror Games \u00bb. Dans Mark J. P. Wolf (dir.),\u00a0<i>Video Games and Gaming Culture<\/i>, vol. 3, p. 435-454. 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-f657d22 e-con-full e-flex e-con e-parent\" data-id=\"f657d22\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4c1d22f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"4c1d22f\" 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=\"577\" height=\"939\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015.jpg\" class=\"attachment-large size-large wp-image-1250\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015.jpg 577w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015-184x300.jpg 184w\" sizes=\"(max-width: 577px) 100vw, 577px\" \/>\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-e3bca0b elementor-widget elementor-widget-text-editor\" data-id=\"e3bca0b\" 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. 2015. \u00ab Le survival horror : un genre vid\u00e9oludique id\u00e9al pour une \u00e9tude genr\u00e9e \u00bb. Dans Fanny Lignon (dir.),\u00a0<i>Genre et jeux vid\u00e9o<\/i>, p. 95-117. Toulouse : Presses Universitaires du Mirail.<\/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-4d5637b e-con-full e-flex e-con e-parent\" data-id=\"4d5637b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-aa53175 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"aa53175\" 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-6f49691 elementor-widget elementor-widget-text-editor\" data-id=\"6f49691\" 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 Survival Horror \u00bb. Dans Mark J.P. Wolf (dir.),\u00a0<i>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/i>, p. 636-639. Westport : Greenwood Press.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-ab5e774 e-con-full e-flex e-con e-parent\" data-id=\"ab5e774\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7d9e6ed elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"7d9e6ed\" 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=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence-1.jpg\" class=\"attachment-large size-large wp-image-1254\" 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-8a94d4b elementor-widget elementor-widget-text-editor\" data-id=\"8a94d4b\" 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 Guillaume Roux-Girard. 2012. \u00ab Entre synchronisation et action : son et violence dans les jeux vid\u00e9o d&rsquo;horreur \u00bb. Dans Bernard Perron, Richard B\u00e9gin et Lucie Roy (dir.),\u00a0<i>Figures de violence<\/i>, p. 81-91. Coll. \u00ab Esth\u00e9tiques \u00bb, Paris : 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-0c3bb61 e-con-full e-flex e-con e-parent\" data-id=\"0c3bb61\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ffcc37 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3ffcc37\" 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=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence-1.jpg\" class=\"attachment-large size-large wp-image-1254\" 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-cd15c1f elementor-widget elementor-widget-text-editor\" data-id=\"cd15c1f\" 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, Richard B\u00e9gin et Lucie Roy. 2012. \u00ab Introduction : Figures de violence \u00bb. Dans Bernard Perron, Richard B\u00e9gin et Lucie Roy (dir.),\u00a0<i>Figures de violence<\/i>, p. 7-11. Coll. \u00ab Esth\u00e9tiques \u00bb, Paris : L&rsquo;Harmattan.<\/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-26bb87e e-con-full e-flex e-con e-parent\" data-id=\"26bb87e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-cdc8546 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"cdc8546\" 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=\"117\" height=\"160\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Game-Sound-Technology-and-Player-Interactio.jpg\" class=\"attachment-large size-large wp-image-1257\" 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-d4e1c87 elementor-widget elementor-widget-text-editor\" data-id=\"d4e1c87\" 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. \u00ab Listening to Fear: A Study of Sound in Horror Computer Games \u00bb. Dans Mark Grimshaw (dir.),\u00a0<i>Game Sound Technology and Player Interaction: Concepts and Developments<\/i>, p. 192-212. Hershey : IGI Global. [<a title=\"Listening to Fear: A Study of Sound in Horror Computer Games\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/roux-girard_chap_grimshaw_book.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-9b1ae65 e-con-full e-flex e-con e-parent\" data-id=\"9b1ae65\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fc5ba12 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fc5ba12\" 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=\"247\" height=\"163\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Logo-CIAC.png\" class=\"attachment-large size-large wp-image-4762\" 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-86e349c elementor-widget elementor-widget-text-editor\" data-id=\"86e349c\" 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 Fatal Frame ou la hantise vid\u00e9oludique \u00bb.\u00a0<i>Magazine \u00e9lectronique du Centre international d\u2019art contemporain<\/i>, n\u00b0 38 (novembre). [<a title=\"\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Fatal-Frame-Magazine_CIAC.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-234f1ad e-con-full e-flex e-con e-parent\" data-id=\"234f1ad\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-d667fa3 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"d667fa3\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-7cae5f1 elementor-widget elementor-widget-text-editor\" data-id=\"7cae5f1\" 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 Introduction: Gaming After Dark \u00bb. Dans Bernard Perron (dir.),\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 3-13. McFarland : Jefferson.<\/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-bcb6c24 e-con-full e-flex e-con e-parent\" data-id=\"bcb6c24\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-58bcbbd elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"58bcbbd\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-13d663e elementor-widget elementor-widget-text-editor\" data-id=\"13d663e\" 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 The Survival Horror: The Extended Body Genre \u00bb. Dans Bernard Perron (dir.),\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 121-143. Jefferson : McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9599af e-con-full e-flex e-con e-parent\" data-id=\"a9599af\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6ab46e0 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6ab46e0\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-25158fc elementor-widget elementor-widget-text-editor\" data-id=\"25158fc\" 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 Haunting Backgrounds: Transnationality and Intermediality in Japanese Survival Horror Video Games \u00bb. Dans Bernard Perron (dir.),\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 95-120. Jefferson : McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-23f3da2 e-con-full e-flex e-con e-parent\" data-id=\"23f3da2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c32f13e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c32f13e\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-e1dde00 elementor-widget elementor-widget-text-editor\" data-id=\"e1dde00\" 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 Plunged Alone into Darkness: Evolution in the Staging of Fear in the Alone in the Dark Series \u00bb. Dans Bernard Perron (dir.),\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 145-167. Jefferson : McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-811f3d9 e-con-full e-flex e-con e-parent\" data-id=\"811f3d9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-85070f5 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"85070f5\" 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\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1205\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" 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-83a3f70 elementor-widget elementor-widget-text-editor\" data-id=\"83a3f70\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Therrien, Carl. 2009. \u00ab Games of Fear. A Multi-Faceted Historical Account of the Horror Genre in Video Games \u00bb. Dans Bernard Perron (dir.),\u00a0<i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 26-45. Jefferson : McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8c99076 e-con-full e-flex e-con e-parent\" data-id=\"8c99076\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f0e2b77 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"f0e2b77\" 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=\"400\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg\" class=\"attachment-large size-large wp-image-711\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg 250w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008-188x300.jpg 188w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-73e3241 elementor-widget elementor-widget-text-editor\" data-id=\"73e3241\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2008. \u00ab Dal film al gioco: l\u2019esperienza forzata di paura \u00bb. Dans Matteo Bittanti (dir.),\u00a0<i>Schermi interattivi. Saggi critici su videogiochi cinema<\/i>, p. 233-259. Rome : Meltemi.<\/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-0ba3f0d e-con-full e-flex e-con e-parent\" data-id=\"0ba3f0d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e8b639e elementor-widget elementor-widget-text-editor\" data-id=\"e8b639e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Autres publications pertinentes<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-2deedda e-con-full e-flex e-con e-parent\" data-id=\"2deedda\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-dcd2baf elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"dcd2baf\" 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-fd0fac1 elementor-widget elementor-widget-text-editor\" data-id=\"fd0fac1\" 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 Marta Boni (dir.),\u00a0<i>World Building. Transmedia, Fans, Industries<\/i>, p. 215-230. Amsterdam : Amsterdam University Press.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-7a1d954 e-con-full e-flex e-con e-parent\" data-id=\"7a1d954\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8cb7cce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8cb7cce\" 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=\"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-42f2a96 elementor-widget elementor-widget-text-editor\" data-id=\"42f2a96\" 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 Introduction \u00bb. Dans Bernard Perron, Samuel Archibald et Antonio Dominguez Leiva (dir.),\u00a0<em>Z pour Zombies<\/em>, p. 9-10. Montr\u00e9al : Presses de l&rsquo;Universit\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-4c2243f e-con-full e-flex e-con e-parent\" data-id=\"4c2243f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9cee804 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9cee804\" 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-b615aac elementor-widget elementor-widget-text-editor\" data-id=\"b615aac\" 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&rsquo;horreur dans tous ses \u00e9tats \u00bb.\u00a0<i>Loading&#8230; Journal of the Canadian Game Studies Association<\/i>, vol. 4, n\u00b0 6. [<a title=\"\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/article\/view\/87\" 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-d9cb659 e-con-full e-flex e-con e-parent\" data-id=\"d9cb659\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e367266 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e367266\" 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=\"782\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006.jpg\" class=\"attachment-large size-large wp-image-1273\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006.jpg 782w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006-235x300.jpg 235w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006-768x982.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\" \/>\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-295e222 elementor-widget elementor-widget-text-editor\" data-id=\"295e222\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2006. \u00ab The Heuristic Circle of Gameplay: the Case of Survival Horror \u00bb. Dans Dodo Santorineos (dir.),\u00a0<i>Gaming Realities: the Challenge of Digital Culture<\/i>, p. 62-71. Actes du colloque \u00ab Medi@terra 2006 \u00bb (Ath\u00e8nes, octobre). [<a title=\"The Heuristic Circle of Gameplay: the Case of Survival Horror\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Heuristic%20Circle%20of%20Gameplay%20-%20Mediaterra%202006.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<div id=\"headingSec\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSec\" aria-expanded=\"false\" aria-controls=\"collapseSec\"><strong>+ En savoir plus<\/strong><\/a><\/div>\n<div id=\"collapseSec\" class=\"collapse in\" aria-labelledby=\"headingSec\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nPrenant racine dans une pr\u00e9c\u00e9dente \u00e9tude s\u2019int\u00e9ressant \u00e0 l&rsquo;interactivit\u00e9 cognitive du spectateur lors du visionnement d\u2019un film, cet article examine la circularit\u00e9 au coeur de l&rsquo;exp\u00e9rience de la jouabilit\u00e9. Prenant le genre du survival horror, et plus particuli\u00e8rement le jeu Cold Fear comme \u00e9tude de cas, il d\u00e9crit l&rsquo;activit\u00e9 ludique comme un cercle heuristique. Si, comme l\u2019a formul\u00e9 Huizinga, jouer \u00e0 un jeu vid\u00e9o consiste \u00e0 entrer dans un cercle magique, il s\u2019agit aussi d\u2019\u00eatre impliqu\u00e9 dans un cycle magique de questions et de r\u00e9ponses, d&rsquo;analyse et d\u2019implantation, d&rsquo;entr\u00e9e et de sortie.\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-8a876f4 e-con-full e-flex e-con e-parent\" data-id=\"8a876f4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9ab1cbe elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9ab1cbe\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"288\" height=\"373\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg\" class=\"attachment-large size-large wp-image-721\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg 288w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006-232x300.jpg 232w\" sizes=\"(max-width: 288px) 100vw, 288px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-db62079 elementor-widget elementor-widget-text-editor\" data-id=\"db62079\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2006. \u00ab Quand le brouillard se dissipe : Silent Hill, le film \u00bb.\u00a0<i>Cin\u00e9-Bulles<\/i>, vol. 24, n\u00b0 4 (automne), p. 42-47. [<a title=\"Quand le brouillard se dissipe : Silent Hill, le film\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinebulles%20-%202007.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]\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-2591cb9 e-con-full e-flex e-con e-parent\" data-id=\"2591cb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8f8a649 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8f8a649\" 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=\"255\" height=\"195\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Aesthetics-of-Play-2005.jpg\" class=\"attachment-large size-large wp-image-1275\" 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-dd40ace elementor-widget elementor-widget-text-editor\" data-id=\"dd40ace\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2005. \u00ab Coming to Play at Frightening Yourself: Welcome to the World of Horror Games \u00bb. Actes du colloque \u00ab Aesthetics of Play. A Conference on Computer Game Aesthetics \u00bb (Bergen, 4-15 Octobre 2005). [<a href=\"https:\/\/www.aestheticsofplay.org\/perron.php\">En ligne<\/a>] [<a title=\"Coming to Play at Frightening Yourself: Welcome to the World of Horror Games\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Bergen%20-%202005.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<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>\n<div id=\"collapseFirst\" class=\"collapse in\" aria-labelledby=\"headingFirst\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nD\u2019Haunted House (Atari, 1981) \u00e0 Alone in the Dark (I-Motion Inc. &#038; Infogrames\/Interplay, 1992), de Phantasmagoria (Sierra, 1995) \u00e0 Resident Evil 4 (Capcom, 2005), cet article \u00e9tudie comment les jeux vid\u00e9o d\u2019horreur effraient ou, plut\u00f4t, comment ils nous am\u00e8nent \u00e0 nous faire peur. Bien entendu, il est impossible d\u2019ignorer la rem\u00e9diatisation de l\u2019esth\u00e9tique et des strat\u00e9gies filmiques. Mais, bien que ces liens soient importants, c\u2019est avant tout ce que l\u2019interactivit\u00e9 apporte au genre qui est examin\u00e9. Une ruelle sombre, une porte entrouverte, un son distant et insolite ou une confrontation avec un monstre ne sont pas que des signes fictionnels d\u2019horreur, ils sont avant tout des signaux pour agir, menant \u00e0 un gain ou une perte de contr\u00f4le. Par exemple, la lueur vacillante des lampes et les \u00e9clairs d\u2019Haunted House ou le faisceau lumineux de la lampe de poche de Silent Hill (Konami, 1998) ne participent pas seulement \u00e0 la cr\u00e9ation d\u2019une ambiance sinistre, ils contraignent le champ de vision du joueur de mani\u00e8re \u00e0 exacerber son sentiment d\u2019ins\u00e9curit\u00e9. Il en va de m\u00eame du cadrage dans Resident Evil (Capcom, 1996). Si un effet de surprise peut \u00eatre aussi efficace dans un jeu vid\u00e9o que dans un film, dans sa forme vid\u00e9oludique, il est d\u00e9clench\u00e9 par le mouvement du joueur. Par cons\u00e9quent, le potentiel d\u2019adaptation du joueur est au coeur de l\u2019exp\u00e9rience d\u2019horreur et de terreur. Sans oublier le syst\u00e8me de pr\u00e9avis pr\u00e9c\u00e9demment \u00e9tudi\u00e9 (2004), il devient alors pertinent d\u2019examiner des dispositifs comme le Panic Meter de Clock Tower 3 (Capcom, 2003) qui, plus il se remplit, rend les actions de la personnage-joueur progressivement erratiques \u2013 au point o\u00f9 elle ne r\u00e9pond plus aux commandes du joueur \u2013 ou le Sanity Meter d\u2019Eternal Darkness: Sanity\u2019s Requiem (Silicon Knights\/Nintendo, 2002), qui, lorsqu\u2019il se vide, affecte \u00e9trangement votre personnage-joueur, le monde du jeu, le t\u00e9l\u00e9viseur et la console.\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-bbf4b4b e-con-full e-flex e-con e-parent\" data-id=\"bbf4b4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6204451 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6204451\" 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=\"780\" height=\"126\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo.png\" class=\"attachment-large size-large wp-image-4764\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo.png 780w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo-300x48.png 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo-768x124.png 768w\" sizes=\"(max-width: 780px) 100vw, 780px\" \/>\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-ba4476c elementor-widget elementor-widget-text-editor\" data-id=\"ba4476c\" 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 Sign of a Threat: The Effects of Warning Systems in Survival Horror Games \u00bb.\u00a0<i>4th Conference on Computation Semiotics<\/i>, p. 132-141.\u00a0Actes du colloque \u00ab COSIGN 2004 \u00bb (Split, 14-16 septembre 2004). [<a title=\"Sign of a Threat : The Effects of Warning Systems in Survival Horror Games\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron_Cosign_2004.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingLast\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseLast\" aria-expanded=\"false\" aria-controls=\"collapseLast\"><strong>+ En savoir plus<\/strong><\/a><\/div><div id=\"collapseLast\" class=\"collapse in\" aria-labelledby=\"headingLast\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Cet article s\u2019int\u00e9resse \u00e0 la mani\u00e8re par laquelle la conception des jeux de survival horror cherche \u00e0 effrayer et apeurer le joueur. En comparant les jeux vid\u00e9o aux films, l&rsquo;\u00e9tat exp\u00e9rientiel du joueur \u00e0 celle du spectateur, ainsi que le choc de la surprise \u00e0 la tension du suspense, l\u2019auteur se concentre sur les effets de pr\u00e9avis et sur les r\u00e9actions \u00e9motionnelles des joueurs face \u00e0 des jeux de survival horror.<\/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\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-3904\" aria-expanded=\"false\">\u00c9v\u00e9nements<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3904\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3904\" tabindex=\"0\" hidden=\"hidden\"><p><a href=\"https:\/\/www.ludov.ca\/fr\/videoludiques\/evenements#penserApresLaNuit\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-1601 alignleft\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster.jpg 709w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/>Penser apr\u00e8s la tomb\u00e9e de la nuit : bienvenue dans le monde des jeux vid\u00e9o d&rsquo;horreur<\/a><br \/>Colloque international sur l&rsquo;\u00e9tude des jeux vid\u00e9o d&rsquo;horreur organis\u00e9 par Ludicin\u00e9.<\/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-3905\" aria-expanded=\"false\">Liens pertients<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3905\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3905\" tabindex=\"0\" hidden=\"hidden\"><p style=\"text-align: left;\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-6373 alignleft\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng-300x62.png\" alt=\"\" width=\"300\" height=\"62\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng-300x62.png 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng.png 711w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><a title=\"\" href=\"http:\/\/horror.dreamdawn.com\/\" target=\"_blank\" rel=\"noopener\">Chris&rsquo; Survival Horror Quest<\/a><br \/>Base de donn\u00e9es, critiques et forum de discussion autour des jeux vid\u00e9o d&rsquo;horreur.<\/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>Projet R\u00e9alisations Publications \u00c9v\u00e9nements Liens pertients Projet Projet sous la direction de\u00a0Bernard Perron Dans la mesure o\u00f9 la majorit\u00e9 des jeux vid\u00e9o repose sur la notion de survie, le jeu &#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-448","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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