Le corps du joueur et l’écran traversé : récurrences et circulation d’un motif.
This article aims to identify and to interpret a recurring topos regarding the relationships between the video game player and the screen : screen crossing. By “screen crossing” I mean representations which feature screens crossed in one way or the other, by the player or by the game’s diegetic figu...
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| Main Author: | |
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| Format: | Article |
| Language: | fra |
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Université de Limoges
2018-12-01
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| Series: | ReS Futurae |
| Subjects: | |
| Online Access: | https://journals.openedition.org/resf/1970 |
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| Summary: | This article aims to identify and to interpret a recurring topos regarding the relationships between the video game player and the screen : screen crossing. By “screen crossing” I mean representations which feature screens crossed in one way or the other, by the player or by the game’s diegetic figures. The identification of this topos first goes with the tracking of its appearances as well as its variations as soon as the early 1980’s, within the illustrations in video game press, in advertisements, in movies, or in cartoon books. Regarding its interpretation, the works of Scott Bukatman and Vivian Sobchack about science-fiction allow us to think of the screen crossing in the terms of a decentered subjectivity, of a subject projected into the machine. Then the mistreated body of the player, as represented in many ads and cartoons, appears to be the correlate of the individual caught into the lines of the program, submitted to the visual and attentional logics of the machine. In this way, as depicted in numerous ads, the gaming situation is explicitly labeled as “action” and the player is thus often commanded to react. The video game player appears in close proximity with what Georges Vigarello has called an “informational body”, that is, the individual’s capacity to react and to adapt to the screen’s flow of information. The screen crossing topos betrays a confused situation, one of a body which is neither truly in front of the screen nor truly within it. From the representations and the discourses, such a situation is inherent to transformations regarding the screen, and leads us to think in a different way about the notions of immersion and interactivity. |
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| ISSN: | 2264-6949 |