No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

Les jeux vidéo qui abordent de manière explicite ou détournée des événements réels transmettentune certaine vision de tels événements à leurs utilisateurs. Que ce soit à travers les éléments de récitsur lesquels ils reposent, les images portées à l’écran ou leurs spécificités ludiques, certains jeuxvidéo s’inspirent ainsi du réel autant qu’ils (re)construisent ce dernier par l’intermédiaire desexpériences de jeu qu’ils proposent.Afin de mieux cerner les rouages et les mécanismes de ces jeux, nous avons pu proposer dans cetravail une méthode d’analyse qui prend en compte l’ensemble des éléments (narratifs, audiovisuels et ludiques) qui les constituent. Nous avons pu ensuite appliquer cette méthode aux trois jeux Call of Duty: Modern Warfare (2007-2011). Une fois l’étude de ces éléments formels réalisée, nous avons replacé ces jeux dans leurs contextes de production et de réception.Nous avons ainsi pu mettre en lumière le fait que, à l’exaltation de sentiments militaristes, guerriers, nationalistes et patriotiques, s’ajoute dans ces trois jeux une volonté assez nette de véhiculer une vision positive de l’engagement militaire américain à l’étranger et de l’adoption d’une doctrine de guerre préventive par les États-Unis au lendemain des attentats du 11 septembre 2001.Au-delà du travail réalisé sur les trois jeux Call of Duty: Modern Warfare, la méthode utilisée pour le mener à bien participe à proposer une approche qui prend en compte les multiples facettes de l’objet jeu vidéo pour en appréhender au mieux les possibilités de persuasion. / Video games that directly or indirectly address real events transmit a certain vision of such events to their users. Be it thanks to the narratives on which they are based, the images users interact with, or gameplay and game structure specificities, some video games are inspired by real events as much as they (re)build those through the play experiences that they propose.In order to better understand this dynamic, this dissertation proposes a method of analysis that takes into account the three key components that constitute video games (narrative, audiovisual, game and play). This method is then applied to the three Call of Duty: Modern Warfare games (2007-2011). The contexts of production and reception are also taken into account in this analysis.This dissertation highlights the fact that, in addition to the exaltation of a militaristic, nationalist and patriotic ethos, the three Call of Duty: Modern Warfare games strive to convey a particularly positive image of American military actions abroad and of the adoption of a preventive warfare doctrine in the aftermath of the 9/11 attacks.The method applied to this corpus of games is also meant to propose an approach to this medium that takes into account its globality and complexity in order to better understand its persuasive possibilities.

Within this thesis I explore what can be achieved when culture is critically assessed through a series of theories that mobilise a spatial imaginary. I place the concepts of atmosphere, connection, site and encounter, and theories of emergence via terms such as movement, practice and embodiment, into tension with a single case study: Goth. Goth is a music based grouping, emerging from Punk, New Romantic, Indie and Glam Rock style and music cultures in the late 1970s, with a significant near-global presence in the popular culture industries and links to several salient media controversies; including the Columbine High School massacre, the murder of Sophie Lancaster, and fears over self-harm and suicide. I specifically draw on the vocabularies from within non-representational geographies of performance, relational materiality, affect and social anxiety to re-work understandings of this collectivity. I question what is involved in the material practices of Goth, explore how the practice and experience of Goth is articulated through specific sites, examine how Goth participates in the production and circulation of cultures of anxiety or (un)popularity; and reconsider the concept of ‘subculture’. To do so, I employ a range of methodologies, from guided walks to photo-diaries, within multi-site field research throughout the UK, Tokyo and New York City. I conclude that Goth and culture more generally can be theorised in a number of ways: it emerges as a performed series of embodied acts; it is co-produced in complex relations with non-humans; it can be thought of as a series of modulating affective atmospheres; it coalesces as a collectivity and circulates through events; and it is co-produced through sites and media events. None of these dominates over or diminishes the other; rather they are co-constitutive and interdependent.

This thesis examines how select participants came to be involved in DiY punk culture, what they do in it, and how, if they do, they exit from the culture. Underpinning this will be an ethnographic examination of how the ethics of punk informs their views of remaining authentic and what they consider to be a sell out and betrayal of these values. I illustrate how such ethics have evolved and how they inform the daily practice of two chosen DiY punk communities in Leeds and Bradford. I show how these communities reciprocally relate to each other. I ask such questions as what do the participants get out of what is often experienced as hard work and toil, particularly where it is fraught with a series of dilemmas bound up in politics, ethics, identity and integrity. I offer a grounded theory of how and what ways those involved in DiY punk authenticate themselves in their actions. This will demonstrate how and, more importantly, why DiY punks distinguish their ethical version of punk over and above what are taken as less favourable forms of punk. What happens if previous passionately held DiY beliefs are surrendered? Severe consequences follow should a participant sell out. I present an account of these and suggest that what they involve is not the clear-cut question that is sometimes assumed, either sincerely or selfrighteously.