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Bernard Perron, « La sempiternelle attraction du cinéma interactif », in Jean-Marie Dallet. Cinéma, interactivité et société, Paris, Burozoïque, 2013, p. 37‑58.

Bernard Perron, « Jouabilité, bipolarité et cinéma interactif », in Christian Vandendorpe. , Denis Bachand. Hypertextes: espaces virtuels de lecture et d’écriture, Québec, Éditions Nota bene, 2002, p. 285‑311.

Bernard Perron, « Le cinéma interactif à portée de main », in Alice Autelitano. , Valentina Re. I cinque sensi del cinema: XI Convegno internazionale di studi sul cinema = The Five Senses of Cinema : XI International Film Studies Conference, University of Udine, Udine, Forum, 2005, p. 447‑457.

Bernard Perron, « The First Transi-Sounds of Parallel Editing », in Richard Abel. , Rick Altman. The Sounds of Early Cinema, Bloomington, IN, Indiana University Press, 2001, p. 79‑86.

This is the first book devoted exclusively to a little-known phenomenon: the ubiquitous presence of sound in early cinema. 'Silent cinema' may rarely have been silent, but the sheer diversity of sounds characterizing the early moving pictures can still astonish us, from barkers and ballyhoos, to pianists and orchestras. These essays cover a broad range of subjects, including sound practices in production, sound-related exhibition practices, film music, and the politics of film reception.

Bernard Perron, « Entre bande dessinée, cinéma et fiction interactive : l’écran divisé du BDVD », in Leonardo Quaresima. , Laura Ester Sangalli. , Federico Zecca. Cinema e fumetto: XV Convegno internazionale di studi sul cinema = Cinema and Comics : XV Internatiornal Film Studies Conference : University of Udine, Udine, Forum, 2009, p. 609‑626.

Bernard Perron, « Les transi-sons du cinéma des premiers temps », in Richard Abel. , Rick Altman. The Sounds of Early Cinema, Bloomington, IN, Indiana University Press, 2001, p. 289‑294.

This is the first book devoted exclusively to a little-known phenomenon: the ubiquitous presence of sound in early cinema. 'Silent cinema' may rarely have been silent, but the sheer diversity of sounds characterizing the early moving pictures can still astonish us, from barkers and ballyhoos, to pianists and orchestras. These essays cover a broad range of subjects, including sound practices in production, sound-related exhibition practices, film music, and the politics of film reception.

Bernard Perron et Carl Therrien, « >>Pointez-et-cliquez ici<< Les figures d’interactivité dans le cinéma interactif des premiers temps », in Enrico Biasin. , Giulio Bursi. , Leonardo Quaresima. Lo stile cinematografico: XIII Convegno internazionale di studi sul cinema = Film style : XIII International Film Studies Conference, University of Udine, Udine, Forum, 2007, p. 395‑403.

Rick Altman, « Toward a Theory of the History of Representational Technologies », Iris, vol. 2 / 2, 1984, p. 111‑125.

Rick Altman, « Moving Lips: Cinema as Ventriloquism," Yale French Studies 60 (1980), 67-79. », Yale French Studies, 1980, p. 67‑79.

Rick Altman, « The Technology of the Voice - Part II », Iris, vol. 4 / 1, 1986, p. 107‑119.

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