Detalhes bibliográficos
| Ano de defesa: |
2008 |
| Autor(a) principal: |
Shum, Lawrence Rocha
 |
| Orientador(a): |
Trivinho, Eugênio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/5155
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Resumo: |
The emergence of electronic games as a cultural manifestation and product that is widespread and has economic significance invites us to develop a theory of sound production for games, in the same way as has occurred with cinema (film sound). According to information from the NPD Group (www.npd.com), games are currently the largest sector of the entertainment industry, having earned a profit of US$10.5 billion in 2005 in the American market alone. In addition to their commercial importance, electronic games have the status of a media and an environment for social interaction and constitute one of the most significant cultural and technological phenomena of our time. Their influence can be seen in the way they interface and form a hybrid with the cinema, education, pedagogy, communication, philosophy, computer science, sociology, anthropology, political activism, science, advertising, painting and other forms of artistic expression. Games have established themselves within the academy with game studies: scientific research regarding the types, languages and cultural, aesthetic and communicational aspects of electronic games. One of the main points of reference in this area, the website Game Studies (http://gamestudies.org), proposes taking a new view of games, instead of simply using them as metaphors or illustrations of some other theory or phenomenon . In short, games have emerged as their own area of knowledge. The concept of sound topology is proposed in this doctoral dissertation to designate the conception of the possible places in a game (where there can be sound) and their correlation with the planning, creation, employment and distribution of sound elements (voices, music and noises), thus establishing a dialectical relationship between a game s places and their sounds. The word place here has a broad meaning and can mean spaces, environments, levels, phases, obstacles, maps, flow charts, cities, kingdoms, universes, worlds, optional scenes and narrative plans. The research problem is to investigate and propose possible uses for sounds as immersive elements, interaction indices and gameplay forms. For this purpose, a dialog was conducted among the ideas of Huizinga and Caillois regarding the nature of games; of Samsel and Wimberley regarding the structural models of navigation; of Jenkins regarding narrative spaces; of Galloway regarding the theory of action in games; of hypermedia, and of film sound studies. The methodology involved the practice of various games, in addition to bibliographic research |
