Listening to Fear - Game Sound Technology and Player Interaction: Concepts and Developments - page 209

Arsenault, D., & Picard, M. (2008). Le jeu vidéo
entre dépendance et plaisir immersif: les trois
formes d'immersion vidéoludique. Proceedings
of HomoLudens: Le jeu vidéo: un phénomène
social massivement pratiqué, (pp. 1-16). Retrieved
from http://www.homoludens.uqam.ca/index.
php?option=com_ content&task=view&id=55
&Itemid=63.

Fatal frame . [Computer game]. (2002). Tecmo
(Developer). Torrance: Tecmo.

Friday the 13th. [Computer game]. (1989). Pack-
In-Video (Developer). New York: LJN.

Grimshaw, M. (2008). The acoustic ecology of
the first person shooter: The player experience of
sound in the first-person shooter computer game .
Saarbrücken, Country: VDM Verlag Dr. Muller.

Boillat, A. (2009). La «diégèse» dans son acception
filmologique. Origine, postérité et productivité
d'un concept. Cinémas Journal of Film Studies ,
19 (2-3), 217-245.

Grimshaw, M. (2009). The audio uncanny val-
ley: Sound, fear and the horror game. In Pro-
ceedings of Audio Mostly: 4th Conference on
Interaction with Sound . Retrieved from http://
digitalcommons.bolton.ac.uk/cgi/viewcontent.
cgi? article=1008&context=gcct_conferencepr.

Bordwell, D. (1986). Narration in fiction film .
New York: Routledge.

Carr, D. (2003). Play dead: Genre and affect in
Silent Hill and Planescape Torment. Game Stud-
ies, 3 (1). Retrieved from http://www.gamestudies.
org/0301/carr/

Halloween . [Computer game]. (1983). Video
Software Specialist (Developer). Los Angeles:
Wizard Video Games.

Hauntedhouse. [Computer game]. (1981). Atari
(Developer).Sunnyvale: Atari.

Chion, M. (1983). Guide des objets sonores:
Pierre Schaeffer et la recherche musicale . Paris:
Buchet/Chastel. Huiberts, S., & van Tol, R. (2008). IEZA: A frame-

work for game audio. Gamasutra. Retrieved from
http://www.gamasutra.com/view/feature/3509/
ieza_a_framework_for_game_audio.php.

Chion, M. (1990). L'Audio-vision . Paris: Nathan.

Chion, M. (2003). Un art sonore, le cinéma:
histoire, esthétique, poétique . Paris: Cahiers du
Cinéma.

Jauss, H. R. (1982). Toward an aesthetic of recep-
tion . Minneapolis, MN: University of Minnesota
Press.

Collins, K. (2008). Game sound: An introduc-
tion to the history, theory, and practice of video
game music and sound design . Cambridge, MA:
MIT Press.

Jørgensen, K. (2006). On the functional aspects
of computer game audio. In Proceedings of Au-
dio Mostly - A Conference on Sound in Games
(pp. 48-52). Retrieved from http://www.tii.se/
sonic_prev/images/ stories/amc06/amc_proceed-
ings_low.pdf.

Dead space . [Computer game]. (2008). EA
Redwood Shores (Developer). Redwood City:
Electronic Arts.

Dektela, R., & Sical, W. (2003). Survival horror:
Un genre nouveau. Horror Games Magazine ,
1 (1), 13-16.

Jørgensen, K. (2008). Audio and gameplay: An
analysis of PvP battlegrounds in World of War-
craft. Game Studies, 8 (2). Retrieved from http://
gamestudies.org/0802/articles/jorgensen.

Ekman, I., & Lankoski, P. (2009). Hair-raising
entertainment: Emotions, sound, and structure
in Silent Hill 2 and Fatal Frame . In Perron, B.
(Ed.), Horror video games: Essays on the fusion
of fear and play (pp. 181-199). Jefferson, NC:

Jørgensen, K. (2011). Time for new terminology?
Diegetic and non-diegetic sounds in computer
games revisited . In Grimshaw, M. (Ed.), Game
sound technology and player interaction: Con-