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Jouer La Romance Dans Amour Sucré: La Construction Adolescente Au Jouer la romance dans Amour Sucré : la construction adolescente au regard des pratiques et productions de l’industrie du jeu vidéo en France Leticia Andlauer To cite this version: Leticia Andlauer. Jouer la romance dans Amour Sucré : la construction adolescente au regard des pratiques et productions de l’industrie du jeu vidéo en France. Sciences de l’information et de la communication. Université de Lille, 2019. Français. NNT : 2019LILUH031. tel-02892051 HAL Id: tel-02892051 https://tel.archives-ouvertes.fr/tel-02892051 Submitted on 7 Jul 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ DE LILLE LABORATOIRE GERIICO ÉCOLE DOCTORALE SCIENCES DE L’HOMME ET DE LA SOCIÉTÉ- UNIVERSITÉ LILLE NORD DE FRANCE Doctorat Sciences de l’Information et de la Communication Leticia Andlauer Jouer la romance dans Amour Sucré La construction adolescente au regard des pratiques et productions de l'industrie du jeu vidéo en France Thè.se dirigée par Simona de Iulio et Vincent Berry Soutenue le 29 novembre 2019 Jury ::: Mme Simona DE IULIO M. Vincent BERRY M. Sébastien GENVO M. Olivier SERVAIS Mme Laure BOLKA-TABARY M. Gilles BROUGERE Mme Judit VARI 2 Remerciements Je tiens en tout premier lieu à remercier ma directrice de thèse Simona De Iulio et mon co-encadrant Vincent Berry pour leur patience, leur gentillesse, leur tolérance, leurs avis pertinents et pour tout ce que j’ai appris tout au long de cette thèse. Merci à mes collègues de GERiiCO, qui m’ont aussi appris beaucoup tout au long de ce parcours. A Florence et Laure pour leur confiance, et pour tout ce qu’elles ont partagé. Une pensée spéciale pour mes anciens camarades de thèse Bérengère et Geoffroy avec qui nous formions le meilleur trio. À mes collègues du champ de recherche sur les jeux vidéo pour les échanges, et les bons moments partout dans le monde. Merci tout spécial à Shunsuke, Joleen, Fanny, Chloé, Yannick, Vinciane et Pierre-Yves. Pour mes collègues à plus de 6000 kilomètres qui m’ont donné une autre vision sur mon sujet : un tendre merci à ma collègue/mentore/amie Frenchy pour sa générosité, ses conseils, sa bibliothèque, et tout ce qu’elle aura partagé avec moi sans compter. Pensées à Sandy et Andréa, à Kayo et Juhyung, et à mes collègues otome : Sarah et Edo. Merci aux employ.é.es du studio Beemoov de m’avoir si chaleureusement accueilli à chacune de mes visites, et de m’avoir consacré du temps pour papoter et répondre à mes questions. Un grand merci plein d’affection pour toutes les joueuses d’Amour Sucré qui ont accepté de participer à l’enquête, ainsi qu’à leurs familles qui m’ont accueilli dans leur foyer ! Merci pour votre gentillesse, et pour m’avoir fait découvrir tant de choses. A Aimée : <3 Je n’oublierai pas mes parents durant tout ce temps pour leur soutien, leur patience et bien d’autres choses. Nous sommes les trois mousquetaires. Enfin, le plus grand merci à mes ami.e.s Cassandra, Kaori, Léa, Lunare, Fromage, et Antoine, pour leur soutien sans faille, et qui restent auprès de moi quoi qu’il arrive. Merci de toujours si bien me comprendre. À BTS et mes copines ARMY : I purple you. 3 4 Sommaire Lexique..................................................................................................................................9 Introduction générale.........................................................................................................11 Industries culturelles et médias, le cas du jeu vidéo et des adolescents......................11 Interroger l’adolescence................................................................................................................12 Discuter des jeux vidéo..................................................................................................................14 De l’intérêt d’étudier les cultures féminines adolescentes au travers des jeux vidéo...16 Étudier les jeux de romance : choix scientifiques et éthiques au cours du projet.........19 Retour sur le parcours de la thèse.................................................................................................19 Note sur les choix scientifiques et éthiques de cette thèse............................................................20 Constituer une problématique sur la construction adolescente au regard de l’industrie des jeux vidéo................................................................................................................23 I Enjeux scientifiques et outils théoriques pour construire un questionnement autour des publics féminins.............................................................................................29 I.1 Adolescence, jeux vidéo et pratiques féminines dans la littérature scientifique.......29 I.1.1 Sociabilités et constructions identitaires des adolescent.e.s au regard de la pratique des jeux vidéo.............................................................................................................................................. 31 I.1.2 Publics « oubliés » : quelles lacunes dans les études sur les jeux vidéo ?...........................41 I.1.3 Les femmes et les loisirs liés à la romance : une tradition d’études en évolution..................47 I.2 Étudier conjointement industries, pratiques et formes d’apprentissages : quels outils théoriques mobiliser pour une approche inter-disciplinaire ?........................................61 I.2.1 Industries, publics, et dispositifs : articuler une étude sur trois pôles.....................................63 I.2.2 Penser et définir les actions des joueuses dans leur rôle au sein de l’industrie....................73 I.2.3 Penser la nature des apprentissages au regard de la communauté en ligne........................81 II Investir, expérimenter, enquêter : enjeux et choix méthodologiques sur le terrain, la posture et les méthodes de recherche........................................................................89 II.1 Du « jeu pour filles » à Amour Sucré : contextualisation du terrain de recherche..89 5 II.1.1 Les jeux vidéo pour filles : retour sur la mise en place d’une catégorisation d’un objet et de ses publics..................................................................................................................................... 91 II.1.2 Les jeux de romance : circulation d’objets culturellement ancrés, entre le Japon et les continents européens et nord-américain......................................................................................109 II.1.3 Amour Sucré : construire le jeu de romance comme terrain de recherche.........................127 II.2 Devenir joueuse : atouts et limites d’une participation en ligne.............................139 II.2.1 Réflexions sur l’adoption d’une posture hybride pour l’étude des jeux vidéo......................141 II.2.2 Devenir joueuse d’Amour Sucré : construire la posture selon les spécificités d’un univers ludique......................................................................................................................................... 147 II.2.3 Immersion : réfléchir la posture à l’épreuve du terrain........................................................153 II.3 Dispositif, industrie et joueuses : étudier et faire dialoguer les enquêtes et analyses .....................................................................................................................................163 II.3.1 Analyser un dispositif « jeu de romance » : quelles dimensions pour la construction d’un univers romantique adolescent ?.................................................................................................165 II.3.2 Enquêter auprès des instances de production du jeu : rencontres avec l’éditeur...............175 II.3.3 Aborder les joueuses et leurs pratiques : enjeux d’une enquête en ligne et en face à face185 III Le jeu comme dispositif de captation pour une médiation entre stratégies d’une industrie et les appropriations des joueuses : résultats d’enquête...........................201 III.1 Dimensions techniques, fictionnelles, et sémio-pragmatiques d’un jeu de romance pour filles......................................................................................................................201 III.1.1 Le système de jeu et son dispositif : décryptage de la construction d’un jeu de romance pour filles..................................................................................................................................... 203 III.1.2 Le monde fictionnel dans Amour Sucré : un univers romantique adolescent....................221 III.1.3 Expérimenter la romance dans l’action : dimension pragmatique du dispositif visant à engager les joueuses..................................................................................................................237 III.2 Enjeux de construction des publics dans la création d’un jeu pour adolescentes et la gestion de sa communauté......................................................................................253 III.2.1 Créer un jeu de romance pour adolescentes : produire pour un public particulier.............255
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