Acknowledgments
A first word of thanks to my thesis supervisors, Élène Tremblay and Dominic Arsenault. Through their encouragement and high standards, they enabled me to achieve the level of quality necessary for the proper progression of my reflection.
Thank you also to the Department of Art History and Film Studies and to my professors and classmates. All have contributed to making my academic path both stimulating and respectful. I am very grateful to them for having been able to work and think in such good company.
Special thanks to my collaborators at the Banff Centre for the Arts and Interval Research Corporation, particularly Michael Naimark and Rachel Strickland, with whom I was able to experiment with this interactive documentary form over twenty years ago. They allowed me to initiate a line of inquiry that I am still pursuing today.
Thanks to my friends in Banff, Yellowknife, Vancouver, San Francisco, Los Angeles, Marseille, Paris, Iqaluit, and Montreal with whom I have worked and, just as often, celebrated. They are precious to me and I think of them often.
Thank you to my family for their love and support. I have been a brother and a son who was often absent for long and frequent periods of time. They have always supported me in the realization of my projects.
An immense thank you to my friend John Turkel, who passed away as we were beginning the production of the film *Texan Eels on Wheels*. It was through him that I became interested in the subject of my interactive project, and it is thanks to his generosity that I was able to dedicate these past two years to my studies and complete my master's degree.
And finally, a last thank you to my proofreader Pierre-Yves Marcoux, always efficient, meticulous, and available. And to Sébastien Lévesque, a neighbor from the COOP and an attentive, precise reader, for his judicious last-minute remarks.