The body of video games: devices, positions, emotions
Résumé
Raymond Bellour's analysis, in his 2009 book Le Corps du cinéma: Hypnoses, émotions, animalités of those emotions specific to the film medium ventures into previously uncharted territory. His conception of film-viewing as a corporeal experience is of interest in that it calls attention to the production of a certain psycho-physical state on the part of the viewer. The aim of this article is to consider those features specific to video games and to cinema in terms of this relationship between human bodies and Bellour's conception of audiovisual ones. This view of cinema as the interplay of various bodies – the apparatus, the viewer, the film – resonates with the problems and stakes involved in a theory of play, of the act of playing, to be found in studies devoted to video games. The question of the player's positions and of body gestures during play has been largely overlooked in game studies developed over the course of the past decade. The emergence of research works focused on the processes of subjectivization, the formation of play-related sites and subcultures, and on the impact of these factors on the game-playing experience, opens a new field of study in the world of video-game research.
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