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”.

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”.

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Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE / Introduction: Martial art is an activity practiced for millennia and in recent years is growing in Brazil, due to the media's own publicity regarding the positive results in relation to the physical and mental health gain in its practitioners. Among the different types of martial arts we have Kung Fu and his Eagle Claw style in the traditional training situation and post-workout recovery Objective: To analyze the active recovery, with the cryotherapy, evaluating the muscular damage, peak of torque and fatigue in Kung Fu practitioners. Methods: The study sample consisted of 16 males, aged between 18 and 39 years old, graduated with training time of at least 1 year continuous and with experience in competition in this year of practice. All were submitted to the traditional training simulations, but only 8 of the 16 individuals were submitted to the cryotherapeutic treatment with the immersion in ice water, the simulations were carried out at an appropriate training site and the body recovery in a 2000 liter capacity pool. Venous blood collection was performed for the analysis of muscle damage indicators, before, after, 24 and 48 hours after the training, as well as the collection of thermographic images for thermal asymmetric skin temperature analysis. Results: The results presented on muscle power in the lower limbs showed a significant difference after the cold water recovery method in relation to the damage, with squat jump 48h after and the Counter Moviment Jump after 24h and 48h. Regarding muscle damage, the LDH and AST indicators showed a significant improvement after 24 hours in cryotherapy. In the thermography, the asymmetry demonstrated the skin temperature comparing individuals submitted to recovery treatment and those who did not, and the active group had the best results 24h and 48h after. Conclusion: The cryotherapy method promotes improvement in the power in the lower limbs reducing muscle damage mainly after 24 hours serving as an alternative procedure in the recovery and prevention of injuries in Kung Fu practitioners. / Introdução: A arte marcial é uma atividade praticada a milênios e nos últimos anos bastante crescente no Brasil, devido a divulgação da própria mídia quanto os resultados positivos em relação ao ganho de saúde física e mental em seus praticantes. Dentre os diferentes tipos de artes marciais temos o Kung Fu e seu estilo Garra de Águia na situação de treino tradicional e recuperação pós treino Objetivo: Analisar a recuperação ativa, com a crioterapia , avaliando o dano muscular, pico de torque e fadiga em praticantes de Kung Fu. Métodos: A amostra do estudo foi composta por 16 indivíduos do sexo masculino, com idade entre 18 e 39 anos, praticantes graduados com tempo de treino de pelo menos 1 ano continuo e com experiência em competição neste ano de prática. Todos foram submetidos as simulações de treino tradicional, mas somente 8 dos 16 indivíduos foram para o tratamento crioterápico com a imersão em água gelada, realizado as simulações em local apropriado de treino e a recuperação corporal em piscina montável com capacidade de 2000 litros. Foi realizada coleta de sangue venoso para análise dos indicadores de dano muscular, antes, após, 24 e 48 horas após a realização do treino, bem como a coleta de imagens termográficas para análise de temperatura da pele de assimetria térmica. Resultados: Os resultados apresentados sobre potência muscular, em membros inferiores houve diferença significativa após o método de recuperação em água fria em relação ao dano, com squat jump 48h após e o Counter Moviment Jump após 24h e 48h. No que se refere a dano muscular os indicadores LDH e AST houve uma melhora significativa após 24h na crioterapia. Na termografia, a assimetria demonstrou a temperatura da pele comparando indivíduos submetidos ao tratamento de recuperação e aos que não efetuaram, tendo o grupo ativo os melhores resultados 24h e 48h após. Conclusão: O método de crioterapia promove melhora na potência em membros inferiores reduzindo o dano muscular principalmente após 24h servindo como procedimento alternativo na recuperação e prevenção de lesões nos praticantes de Kung Fu. / São Cristóvão, SE