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AVIS Ce Document a Été Numérisé Par La Division De La Gestion Des Direction des bibliothèques AVIS Ce document a été numérisé par la Division de la gestion des documents et des archives de l’Université de Montréal. L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE This document was digitized by the Records Management & Archives Division of Université de Montréal. The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. Université de Montréal L'impact de l'universalisation dans Grand Theft Auto VICE CIT'fTM Par Louis-Martin Guay Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de M.A. en études cinématographiques Octobre 2008 © Louis-Martin Guay, 2008 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : L'impact de l'universalisation dans Grand Theft Auto Vice CityTM Présenté par: Louis-Martin Guay a été évalué par un jury composé des personnes suivantes: Olivier Asselin Président-rapporteur Bernard Perron Directeur de recherche Pierre Poulin Membre du jury Résumé Ne pouvant plus se contenter de son étiquette de simple amusement, le jeu vidéo s'est taillé une place parmi les artefacts culturels qui traversent le temps et font office de legs aux générations futures. L'auteur tente ici de comprendre le processus créatif qui mène non seulement à un produit de divertissement, mais à un événement social marquant qui transcende le ludique pour devenir un phénomène populaire. En analysant et en adaptant des concepts relatifs au rôle du lecteur, à la connaissance collective et à la convergence des médias, il présente les points principaux qui dictent la création d'un univers propre à l'œuvre vidéoludique marquante. Ce processus, nommé ici universalisation, est au cœur du discours contenu dans ce mémoire. Mots-clés Jeux vidéo, connaissance collective, études du jeu vidéo, univers du jeu, culture populaire, joueur, processus créatif, interactivité, conception. 11 Abstract Unsatisfied with its label of simple recreation, the video game take a place amongst the cultural artifacts which crass time and act as legacy to the future generations. The author tries here to include/understand the 'creative pracess which leads not only to an entertainment praduct, but also to an outstanding social event which transcends the ludic aspect of agame to become a popular phenomenon. While analyzing and by adapting concepts related to reader's raie, the collective knowledge and the convergence of the media, it presents the principal points which dictate the creation of a universe specifie to an outstanding videoludic work. This pracess, named here universalizafion, is the core theme of this master thesis. Keywords Video game, collective knowledge, video games studies, game world, popular culture, player, interactivity. 111 Table des Matières 1-iste Cles figllres ----------------------------------------------------------------------------~ iv 1-iste Cles tableallx --------------------------------------------------------------------------- vi IntroClllction ----------------------------------------------------------------------------------- 1 Chapitre 1 : Qll'est-ce qlle l'llIliversalisation ? ------------------------------------------ 8 1a. 1-a représentation Clll jell-------------------------------------------------------------10 1b. 1-a corresponClaIlce dll jell-----------------------------------------------------------14 1c. Définition concrète? ------------------------------------------------------:-----------19 cc. " " Chapitre 2 : 1- 'llIliversalisation,v~ le jOllem ---------------------------------------------22 2b. 1-e J oÙ<lm MoClè le --------------------------------------------------------------------2 3 2b. Bâtir sa stratégie ---------------------------------------------------------------------32 Chapitre 3 : UllIliversalisation v§ la commllnallté -------------------------------------39 3a. 1-' intelligence collective -----------------'-------------------------------------------41 3b. 1-a cllltme participative--------------------------------------------------------------45 Chapitre 4 : 1-'llIliversalisation daIls GTA : Vice City----------------------------------52 4a. Les ingréClients Cl'llIle œllvre marqllaIlte------------------------------------------53 4 b. Un monCle Ollvert à l' interprétati on------------------------------------------------ 5 7 4c. Un monde sm mesme ------------------------------.:--------------------------------65 Chapitre 5 : GTA : Vice City vs le JOllem MoClèle--------------------------------------72 5a. À la recherche Clll JOllellr MoClèle--------------------------------------------------73 Chapitre 6 : 1-a commllIlallté ClaIls GTA : Vice City ------------------------------------86 6a. 1-a satire intertextllelle ---------------------------------------------------------------8 7 6b. 1-a cllitme participative--------------------------------------------------------------95 Concillsion-----------------------------------------------'----------------------------------- 100 Bibliographie------------------------------------------------------------------------------- 102 1-11Clographie -------------------------------------------------------------------------------- 106 W ebographie ------------------------------------------------------------------------------- 107 Filmographie ------------------------------------------------------------------------------- 107 .. IV Liste des figures Figure 1 (page 6): Les jaquettes de Grand Theft Auto: Vice City (Rock Star North, 2002) et Vice City Stories (Rock Star North, 2006). Figure 2 (page 19): A: The Sims (Maxis, Electronic Arts, 2000), B: SOCOM: US Navy Seals (Zipper Interactive, Sony, 2002), C: Missile Command (Atari, 1980). Figure 3 (page 20): Diagramme formel de l'universalisation. Figure 4 (page 23): Les ancêtres de Rock Band (Harmonix, 2007). À gauche, Frequency (Harmonix, 2001). À droite, Amplitude (Harmonix, 2003). Figure 5 (page 31): Diagramme formel de l'universalisation incluant le Joueur Modèle. Figure 6 (page 35): Un baiser controversé dans Bully (Rockstar Vancouver, 2006). Figure 7 (page 35): L'homme rose dans Fable (Lionhead Studios, 2005). Figure 8 (page 43): Le fameux modigue de GTA Vice City dans lequel on peut voir la DeLorean 1982 popularisée par le film Back to the Future (Robert Zemeckis, 1985). Figure 9 (page 44): Extrait de l'épisode 100 de Red VS Blue (Rooster Teeth Productions). Figure 10 (page 44): Jaquette du DVD de la quatrième saison de Red VS Blue (Rooster Teeth Productions). Figure 11 (page 49): Création de personnage dans World of Warcraft (Blizzard Entertainment, 2004). Figure 12 (page 49): Création de personnage dans Lord of the Ring Online: The Shadows of Angmar (Turbine, 2007). Figure 13 (page 51): Version finale du diagramme formel de l'universalisation. Figure 14 (page 56): Structure des missions dans les jeux de la série Grand Theft Auto. Figure 15 (page 59): Super Mario 64 (Nintendo Co., Ltd.). v Figure 16 (page 59): The Legend of Zelda: Ocarina of Time (Nintendo Co., Ltd.). Figure 17 (page 60): Conker's Bad Fur Day (Rare) Figure 18 (page 60): Leisure Suit Larry: Magna Cum Laude (Vivendi Universal Games, Inc.). Figure 19 (page 61): Tommy Vercetti le héros de GTA : Vice City. Figure 20 (page 61): Tony Montana (AI Pacino) dans Scarface de Brian DePalma (1980). Figure 21 (page 68): La Stallion de Ford dans GTA: Vice City. Figure 22 (page 68): La Stinger de Pontiac dans GTA: Vice City. Figure 23 (page 76): La répartition des types de joueurs en relation avec les éléments primordiaux d'un jeu vidéo selon Richard Bartle [1996]. Figure 24 (page 89): La carte touristique de la pointe est de Miami (à gauche) & la carte de Vice City (à droite). Figure 25 (page 90): Des ressemblances évidentes entre le Miami de Scarface (à gauche) et Vice City (à droite). Figure 26 (page 91): Tommy Vercetti dans son domaine de Vice City (à gauche).Tony Montana et son bureau dans Scarface (à droite). Figure 27 (page 91): Ken Rosenberg l'avocat de Vice City (à gauche).Sean Penn dans le rôle de David Kleinfeld dans
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