Cette thèse propose une analyse croisée du cinéma et du jeu vidéo sous un angle interdisciplinaire afin de montrer la réappropriation et le remédiatisation des structures narratives et formelles du jeu vidéo dans le cinéma d’effets visuels du tournant du XXIe siècle. Plus spécifiquement, la thèse porte sur l’analyse de trois figures majeures du jeu vidéo et de l’animation dans la trilogie Matrix (Larry et Andy Wachowski, 1999-2003), dans Avalon (Mamoru Oshii, 2001) et dans Kung-Fu Hustle (Stephen Chow, 2004). La première section de la thèse consiste en une mise en place théorique par la présentation de certains paramètres esthétiques du cinéma d’effets visuels et du jeu vidéo. Quelques réflexions préliminaires sur l’esthétique du cinéma d’effets visuels sont d’abord esquissées avant de présenter les principales relations transmédiales entre le cinéma et le jeu vidéo. Ensuite, c’est le cinéma transludique qui est défini alors que le terme découle de la synergie singulière entre le cinéma et le jeu vidéo. Puisque le cinéma transludique concerne spécifiquement la récupération de l’esthétique du jeu vidéo dans le cinéma contemporain, les prémisses d’une esthétique du jeu vidéo sont alors établies. Dans la deuxième section, ce sont les figures et sous-figures au cœur de cette réflexion qui sont développées, pour ensuite les appliquer aux films du corpus. La première figure à l’étude est celle de l’exploration, alors que l’analyse de la signification de cette figure dans la conception de jeu vidéo et dans les récits cinématographiques de science-fiction montre l’importance de la navigation comme expérience spatio-temporelle dans les univers virtuels. Ensuite, c’est l’utilisation récurrente de la figure vidéoludique du niveau (level) dans le cinéma hybride contemporain qui est soulignée, figure qui structure autant le récit que la forme représentationnelle des films transludiques. Enfin, la figure de la métamorphose, indissociable du cinéma d’animation, est étudiée afin de souligner l’importance de cette figure dans la création numérique et d’expliquer la transformation de l’image qui affecte le cinéma transludique, image qualifiée d’image-frontière. / This thesis proposes an analysis between cinema and video games from an interdisciplinary standpoint to demonstrate the remediation of video games’ narrative structures and forms in visual effects-driven films of the early twenty-first century. More specifically, the thesis focuses on the analysis of three major figures of video games and animation films in The Matrix trilogy (Larry and Andy Wachowski, 1999-2003), Avalon (Mamoru Oshii, 2001) and Kung Fu Hustle (Stephen Chow, 2004). The first section of the thesis is a theoretical framework in which the aesthetic parameters of visual effects-driven films and video games are introduced. Some preliminary thoughts on the aesthetics of visual effects-driven films are first outlined before presenting the main transmedial relationships between cinema and video game. Then, it is the transludic cinema which is defined as the term derives from the unique synergy between cinema and video game. Since transludic cinema specifically concerns the remediation of the aesthetics of video games in contemporary cinema, the grounds of an aesthetics of video game are established. In the second section, the figures and subfigures at the heart of this thesis are developed, and then applied to an analysis of the films. The first figure to be discussed is the motif of exploration, where I analyze the significance of this figure in the video game design and science-fiction films narratives, and the meaning of navigation as a spatio-temporal experience in virtual worlds. Then, I demonstrate the use of the recurring figure of the game level in the contemporary hybrid cinema, which structures the narrative as much as the representational image. Finally, the figure of metamorphosis, an essential characteristic of animation, is being studied to highlight the importance of this figure in digital films. I also explain the transformation of the image that affects the transludic film, an image qualified as an “image-frontière”.

Detta är en kartläggande uppsats som har i uppgift att beskriva en ”ny” religiös tradition. Det är även en jämförande uppsats mellan Glastonburys tempel och templet i Söderhamn. År 2002 grundades templet i Glastonbury, som var det första templet som grundades inom denna gren av gudinnetron. År 2006 grundades templet i Söderhamn, det är det enda templet i Sverige med denna inriktning. Genom att jämföra dessa tempel, och studera deras tro, vill jag komma fram till likheter och olikheter mellan dessa tempel och studera svårigheter denna religiösa gren har stött på. På grund av ett ökat intresse inom kvinnoforskning så har troligen gudinnetraditionerna fått en skjuts framåt. Idag kan man se olika former av dessa rörelser sprida sig runt om i världen och i Sverige. Trots de starkt ifrågasatta teorierna om ett matrilinjärt samhälle, så vidmakthåller gudinnetroende att de har existerat. I dessa samhällen hade, enligt de gudinnetroende, kvinnan en stark ställning och makt. Dessa teorier grundar de på arkeologiska fynd, men dessa fynd ger de flesta forskare en annan tolkning. Genom att studera historien och granska de olika teorierna om matrilinjära samhällen så vill jag visa på vikten av att vara källkritisk och att källor ofta är tolkningsbara. Och att många, oavsett religiös tillhörighet, tolkar dem till sin fördel.

Cette thèse propose une analyse croisée du cinéma et du jeu vidéo sous un angle interdisciplinaire afin de montrer la réappropriation et le remédiatisation des structures narratives et formelles du jeu vidéo dans le cinéma d’effets visuels du tournant du XXIe siècle. Plus spécifiquement, la thèse porte sur l’analyse de trois figures majeures du jeu vidéo et de l’animation dans la trilogie Matrix (Larry et Andy Wachowski, 1999-2003), dans Avalon (Mamoru Oshii, 2001) et dans Kung-Fu Hustle (Stephen Chow, 2004). La première section de la thèse consiste en une mise en place théorique par la présentation de certains paramètres esthétiques du cinéma d’effets visuels et du jeu vidéo. Quelques réflexions préliminaires sur l’esthétique du cinéma d’effets visuels sont d’abord esquissées avant de présenter les principales relations transmédiales entre le cinéma et le jeu vidéo. Ensuite, c’est le cinéma transludique qui est défini alors que le terme découle de la synergie singulière entre le cinéma et le jeu vidéo. Puisque le cinéma transludique concerne spécifiquement la récupération de l’esthétique du jeu vidéo dans le cinéma contemporain, les prémisses d’une esthétique du jeu vidéo sont alors établies. Dans la deuxième section, ce sont les figures et sous-figures au cœur de cette réflexion qui sont développées, pour ensuite les appliquer aux films du corpus. La première figure à l’étude est celle de l’exploration, alors que l’analyse de la signification de cette figure dans la conception de jeu vidéo et dans les récits cinématographiques de science-fiction montre l’importance de la navigation comme expérience spatio-temporelle dans les univers virtuels. Ensuite, c’est l’utilisation récurrente de la figure vidéoludique du niveau (level) dans le cinéma hybride contemporain qui est soulignée, figure qui structure autant le récit que la forme représentationnelle des films transludiques. Enfin, la figure de la métamorphose, indissociable du cinéma d’animation, est étudiée afin de souligner l’importance de cette figure dans la création numérique et d’expliquer la transformation de l’image qui affecte le cinéma transludique, image qualifiée d’image-frontière. / This thesis proposes an analysis between cinema and video games from an interdisciplinary standpoint to demonstrate the remediation of video games’ narrative structures and forms in visual effects-driven films of the early twenty-first century. More specifically, the thesis focuses on the analysis of three major figures of video games and animation films in The Matrix trilogy (Larry and Andy Wachowski, 1999-2003), Avalon (Mamoru Oshii, 2001) and Kung Fu Hustle (Stephen Chow, 2004). The first section of the thesis is a theoretical framework in which the aesthetic parameters of visual effects-driven films and video games are introduced. Some preliminary thoughts on the aesthetics of visual effects-driven films are first outlined before presenting the main transmedial relationships between cinema and video game. Then, it is the transludic cinema which is defined as the term derives from the unique synergy between cinema and video game. Since transludic cinema specifically concerns the remediation of the aesthetics of video games in contemporary cinema, the grounds of an aesthetics of video game are established. In the second section, the figures and subfigures at the heart of this thesis are developed, and then applied to an analysis of the films. The first figure to be discussed is the motif of exploration, where I analyze the significance of this figure in the video game design and science-fiction films narratives, and the meaning of navigation as a spatio-temporal experience in virtual worlds. Then, I demonstrate the use of the recurring figure of the game level in the contemporary hybrid cinema, which structures the narrative as much as the representational image. Finally, the figure of metamorphosis, an essential characteristic of animation, is being studied to highlight the importance of this figure in digital films. I also explain the transformation of the image that affects the transludic film, an image qualified as an “image-frontière”.

Magister Artium - MA / The purpose of this investigation is to determine how a group of selected institutionalized alcoholics react to a broad-spectrum model in regard to their perception of treatment, re-integration into community life and general rehabilitation. The method that was employed to achieve this goal is fivefold. Firstly alcoholics were placed within a theoretical perspective by focusing on the etiology, nature, extent and consequences thereof. Secondly the existing methods of treatment and the existing facilities available in South Africa were investigated. These two objectives were realized by means of a comprehensive literature study. Thirdly an empirical investigation was carried out of the policy and philosophical approach as well as the application of the multi-disciplinary methods of treatment at the Avalon Treatment Centre. Information in this regard was gained during visits to the Centre by means of personal interviews with the team applying the treatment as well as the respondents reacted to the treatment model by means of case studies. Data was obtained by conducting unstructured in-depth interviews with the respondents. By this means respondents were identified in terms of their personality configuration, marital, scholastic, professional, religious and socio-economic status. The respondents' drinking behaviour is focused on in order to determine patterns and tendencies in the development of the respondents' drinking problem. The researcher also followed up the respondents' behaviour over a period of two years to determine their re-integration within the community as well as their total rehabilitation. Valuable information about the respondents was gained during group therapy sessions and also meetings of Alcoholics Anonymous by means of participant observation. As member of Alcoholics Anonymous the researcher was part of the group and on an equal footing with the respondents. The advantage this held was that the researcher was accepted by the group and information was passed on without inhibitions. Fifthly the findings, conclusions and recommendations resulting from the whole investigation are set out. From the investigation it would appear that the problem of alcoholism, especially in South Africa is serious and escalating. In the light of this, there is a growing need for effective treatment. In spite of intensive treatment with complete abstinence general, degenerate as the aim of the treatment, the respondents, in because of denial, resistance to treatment, personality and social configuration and also poor re-integration, reacted poorly to treatment. The present specifically be sharpened establishment study shows that institutional treatment and as applied by the Avalon Treatment Centre can in order to be more effective. The of a more realistic perception of alcoholism among alcoholics per se is foremost. A more "enlightened" view of alcoholism is pleaded in terms of which alcoholism would be viewed as a non-stigmatised illness responding to treatment. The possibility that there will be a greater willingness on the part of alcoholics to submit to treatment is visualised. A more positive image of treatment centres should be created while the problem of alcoholism must be approached with a greater measure of sensitivity. Treatment should be of such a nature that it should emphasize and reinforce a positive self-image, pride in oneself and dignity. A more extensive programme of treatment that would include an exploratory project and longitudinal research is pleaded. The desirability of involving other key figures, important persons in the alcoholics life, and institutions as well as community organizations proposed with The traditional emphasis should helping fall services is re-orientation and education in order on sensitising, to achieve a more positive perception and understanding of alcoholism within the community. This study will hopefully stimulate further research in this direction. / South Africa

The outport is in the midst of great change. Twenty years since the moratorium on cod fishing, the province of Newfoundland and Labrador is experiencing rapid economic development in another industrial resource boom. While some outports are growing, others continue to decline. This development is based on wealth gained through exploitation of non-renewable resources, and as such, is not sustainable. Investing a portion of these short-term gains into the development of sustainable alternates will improve opportunities and resources for future generations. Pilot Project proposes that latent outport phenomena may act as supporting structures for sustainable development. The project suggests methods of identifying and expanding sustainable outport phenomena. This analysis can be distilled into five strategic tools for testing, designing and implementing sustainable rural development. 1. Territorial Networks defines a diverse region, increasing individual community capacity and developing resilience by examining existing micro-regional community connections and designing new ones. 2. Community Stewardship encourages a re-organization of local social structures and informal governance initiatives by defining communication pathways and aligning stakeholder interests. 3. Temporal Alignment co-ordinates the events, services and opportunities over time, between communities, by creating flexible infrastructure for supporting temporary and seasonal outport needs. 4. Informal Economies develops new modes of production by blending traditional trade and barter markets with industrial production frameworks, providing economic sustenance in the outport. 5. Place-making constructs new institutions and landmarks with available resources, reorganizing the rural web of social, economic and ecological activity in the region. Newfoundland operates at the extremes. On one hand, rural folk culture has established small-scale, informal community structures; on the other, industrial mega-projects develop according to strict legislation, market pricing, and resource extraction. The proposed strategies find new links between these extremes. Tried and true vernacular development methods are paired with newly emerging technologies and ideas about the future. Rural areas in Newfoundland have historically been used as testing grounds for heavy-handed development ideas, often with severely adverse effects on communities. This project proposes a series of micro developments: the mobilization of existing resources with small capital investment, little risk, and immediate opportunities for implementation. Sustainable rural development is conceived as a practice, an aggregative change from within the community.

The outport is in the midst of great change. Twenty years since the moratorium on cod fishing, the province of Newfoundland and Labrador is experiencing rapid economic development in another industrial resource boom. While some outports are growing, others continue to decline. This development is based on wealth gained through exploitation of non-renewable resources, and as such, is not sustainable. Investing a portion of these short-term gains into the development of sustainable alternates will improve opportunities and resources for future generations. Pilot Project proposes that latent outport phenomena may act as supporting structures for sustainable development. The project suggests methods of identifying and expanding sustainable outport phenomena. This analysis can be distilled into five strategic tools for testing, designing and implementing sustainable rural development. 1. Territorial Networks defines a diverse region, increasing individual community capacity and developing resilience by examining existing micro-regional community connections and designing new ones. 2. Community Stewardship encourages a re-organization of local social structures and informal governance initiatives by defining communication pathways and aligning stakeholder interests. 3. Temporal Alignment co-ordinates the events, services and opportunities over time, between communities, by creating flexible infrastructure for supporting temporary and seasonal outport needs. 4. Informal Economies develops new modes of production by blending traditional trade and barter markets with industrial production frameworks, providing economic sustenance in the outport. 5. Place-making constructs new institutions and landmarks with available resources, reorganizing the rural web of social, economic and ecological activity in the region. Newfoundland operates at the extremes. On one hand, rural folk culture has established small-scale, informal community structures; on the other, industrial mega-projects develop according to strict legislation, market pricing, and resource extraction. The proposed strategies find new links between these extremes. Tried and true vernacular development methods are paired with newly emerging technologies and ideas about the future. Rural areas in Newfoundland have historically been used as testing grounds for heavy-handed development ideas, often with severely adverse effects on communities. This project proposes a series of micro developments: the mobilization of existing resources with small capital investment, little risk, and immediate opportunities for implementation. Sustainable rural development is conceived as a practice, an aggregative change from within the community.