This document provides discussion questions and analysis about the Black Mirror episode "Be Right Back". It explores how the episode is postmodern through its use of intertextuality, dystopian narrative, and artificialness. It also discusses applying the theories of Baudrillard and Foucault to analyze hyperreality and voyeurism portrayed in the episode. The episode challenges other media by portraying the dark side of social media and technology. It targets a mature audience to demonstrate the potential impacts of social media. Overall, Black Mirror explores themes of technology dependence, the influence of social media, and how grief can be relieved or exacerbated through technology.
TV-Narcissism is a soft sort of metafiction which simply consist of telling a story about the journalistic world or about a world where audiovisual products (TV, cameras, smart-phones, etc.) are elaborated.
We can see how the narratives that we usually consume as true are constructed.
Black Mirror is a perfect example of TV-Narcissism
We are only the co-authors of our own narrative selves. Nevertheless, there are many authors (i.e. Foucault) who defend that we don’t participate at all in the construction of this narrative and that we are merely the result of a tale told by others.
Black Mirror 1.2 helps us to understand this theoretical choice which defends the fact that our selves are completely molded by power.
Technology is closely related to very popular and positive imaginaries (Progress, Modernity, Science). This is why we tend to consider technology a good thing or, at least, a neutral thing.
Nevertheless, there have been numerous critiques of technology in several fields.
As we can watch in BM 1.3, we use lots of technologies which invite us to measure others as the result of their own visible actions, without paying attention to the fact that they are happening now as impossible selves.
Any discourse that attempts to reduce us to a completely enlightened explanation (naturalism, nietzschean or moralist accounts) fails and reveals us as impossible selves.
Jamie Slater is a former comedian who is now providing the voice to Waldo, a cartoon that interviews and humiliates people in a satiric TV program. Jack Napier is the producer of the program and decide to convert Waldo into a candidate for local MP in order to get a larger audience. The experiment becomes devastating for Jamie Slater but reveals a huge potential in the political field. Thereby, we see how media, technology, satire and entertainment can become tools of social and political manipulation.
New technologies seem to be a fitting tool for democracy. However, they attack democracy as well, because they trivializs politics (supposed transparency, entertainment and indignation) and spread nihilism (the idea according to which there is nothing beyond appearance) through entertainment and satire.
If the public square is torn apart and amusing nihilism spreads, democracy converts into a mere method of government which is managed by those who dominate media. The question here is: who is the real Waldo’s stagehand?
Therefore technology, when is managed by the before mentioned logics (transparency, entertainment and indignation), can be a lens through which the public can see anti-democratic facts as democratic ones and vice versa.
TV-Narcissism is a soft sort of metafiction which simply consist of telling a story about the journalistic world or about a world where audiovisual products (TV, cameras, smart-phones, etc.) are elaborated.
We can see how the narratives that we usually consume as true are constructed.
Black Mirror is a perfect example of TV-Narcissism
We are only the co-authors of our own narrative selves. Nevertheless, there are many authors (i.e. Foucault) who defend that we don’t participate at all in the construction of this narrative and that we are merely the result of a tale told by others.
Black Mirror 1.2 helps us to understand this theoretical choice which defends the fact that our selves are completely molded by power.
Technology is closely related to very popular and positive imaginaries (Progress, Modernity, Science). This is why we tend to consider technology a good thing or, at least, a neutral thing.
Nevertheless, there have been numerous critiques of technology in several fields.
As we can watch in BM 1.3, we use lots of technologies which invite us to measure others as the result of their own visible actions, without paying attention to the fact that they are happening now as impossible selves.
Any discourse that attempts to reduce us to a completely enlightened explanation (naturalism, nietzschean or moralist accounts) fails and reveals us as impossible selves.
Jamie Slater is a former comedian who is now providing the voice to Waldo, a cartoon that interviews and humiliates people in a satiric TV program. Jack Napier is the producer of the program and decide to convert Waldo into a candidate for local MP in order to get a larger audience. The experiment becomes devastating for Jamie Slater but reveals a huge potential in the political field. Thereby, we see how media, technology, satire and entertainment can become tools of social and political manipulation.
New technologies seem to be a fitting tool for democracy. However, they attack democracy as well, because they trivializs politics (supposed transparency, entertainment and indignation) and spread nihilism (the idea according to which there is nothing beyond appearance) through entertainment and satire.
If the public square is torn apart and amusing nihilism spreads, democracy converts into a mere method of government which is managed by those who dominate media. The question here is: who is the real Waldo’s stagehand?
Therefore technology, when is managed by the before mentioned logics (transparency, entertainment and indignation), can be a lens through which the public can see anti-democratic facts as democratic ones and vice versa.
The screen, the Black Mirror, is performative because it is capable of modifying the behavior of the people related to the reality show.
Post-modern spectators discover themselves identifying with the unaware techno-zombies. They have been behaving like plain techno-zombies.
But technologies cannot only modify the way in which we look at reality, they can also privilege certain ideas or insights about the way to evaluate reality.
BM 2.2 lets us see how technologies can modify the perception we have about abstract concepts like justice, guilt and punishment.
The infected survivor image is the main contribution of this TV series to anthropology.
There are several identification levels between spectator and infected survivors:
1.Anthropology: Searching for happiness or welfare = Searching for a place to live in peace
2.Materialist society (crisis, 9-11,…) + predominant economic and scientific discourse: life = survival (without impossible things).
3.Postmodern society: a) anxiety (anomia) = continuous fight for survival; b) inability to rely on metanarrative = infection.
According to Kirkman’s explanation, TWD will never end. There will not be a catharsis. The secret of our addiction to this TV series is our identification with the infected (through intense moments of feeling)
The screen, the Black Mirror, is performative because it is capable of modifying the behavior of the people related to the reality show.
Post-modern spectators discover themselves identifying with the unaware techno-zombies. They have been behaving like plain techno-zombies.
But technologies cannot only modify the way in which we look at reality, they can also privilege certain ideas or insights about the way to evaluate reality.
BM 2.2 lets us see how technologies can modify the perception we have about abstract concepts like justice, guilt and punishment.
The infected survivor image is the main contribution of this TV series to anthropology.
There are several identification levels between spectator and infected survivors:
1.Anthropology: Searching for happiness or welfare = Searching for a place to live in peace
2.Materialist society (crisis, 9-11,…) + predominant economic and scientific discourse: life = survival (without impossible things).
3.Postmodern society: a) anxiety (anomia) = continuous fight for survival; b) inability to rely on metanarrative = infection.
According to Kirkman’s explanation, TWD will never end. There will not be a catharsis. The secret of our addiction to this TV series is our identification with the infected (through intense moments of feeling)
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2. Questions
How is this episode postmodern (pomo features)
How can you apply/relate Baurillard theory
How can you apply/relate Focault theory
How does it differ or challenge other media (could compare to other current media
or traditional media)
How is it similar to other media? (could be other platforms)
What type of audience is this episode made for? What sort of impact does Charlie
Brooker want on this audience? Why?
What types of technology and media are explored in black mirror?
3. How is this episode postmodern?
Intertextuality = Star Wars – The Clone Wars, Orphan Black, and Doctor Who –
The Doctor’s Daughter (S4E6). These texts use the concept of cloning/human
cloning to replicate a person or creature based on DNA. This is has been used in
‘Be Right Back’ because Martha uses Ash’s social media and online presence to be
transferred into a dummy, to which it will act and talk in a similar style to Ash’s
online presence.
Dystopian narrative = Dark/Grim take on the future from the effects of technology.
The social media and online presence of a person will become their life if
transferred using future technologies (e.g. robotics).
Hybridisation = Drama and Future
Flattening of Affect = Ash’s clone lacks both apathy and empathy
Artificialness = The online presence of Ash is transferred into an unauthentic
substitute, to which it acts and talks similar to his social media activity.
4. How can you apply/relate Baurdillard
theory?
Hyper reality = Division between ‘real’ and simulation has collapsed, therefore an
illusion of an object is no longer possible because the real object is no longer their.
In text, the ‘Ash substitute’ is hyperreal because the illusion is that he is still existing
but only through his online presence even though he has died.
5. How can you apply Foucault’s
theory?
Voyeurism = A person who derives sexual gratification from observing the naked
bodies or sexual acts of others, especially from a secret vantage point. Martha
derives sexual gratification from Ash’s unauthentic substitute, especially when she
realises that the clone is ‘alive’ and operating. To which she becomes intimate with
it physically to ease the pain of the real Ash’s passing.
Voyeuristic Slaves = The temptation for sexual gratification is overwhelming for
Martha despite the denial to the programme provided to her by Sarah. She
proceeds to be intimate with Ash by purchasing the dummy.
Panopticism = Originally a concept of a hypothetical prison proposed by Jeremy
Bentham, having circular tiers of cells surrounding a central observation tower.
Ash’s clone behaves and acts differently in comparison to his former self because
the system and capabilities that the clone has are controlled.
6. How does it differ or challenge
other media?
Advertisement and promotion of products are often included in media texts to bring
out positive changes. Small references may be included in TV programmes or films
in order to promote the product for consumer use. Examples include Facebook and
Instagram which have been referenced in ‘Be Right Back’ when Martha searches
through Ash’s profile, realising that his online presence determines his actions.
In addition, this particular episode heavily promotes the dark side to social media
technology. This is shown through the reactions of Ash’s clone as some of the
feelings that Martha wants him to feel may not come about due to not being visible
on his personal social media profile. This therefore adds to her current grief to her
current situation.
The text is a utopian style as the options available to relieve grief are available
through messages with the deceased or by transferring their internet profile into
another body. However, this ide has challenged media as the text demonstrates the
darker side to these processes as Martha has experienced both of these which has
added further grief.
7. How is it similar to other media?
Intertextual References that have been included in the text:
Star Wars – The Clone Wars = Mass production of cloned Stormtroopers
Doctor Who (S4E6) – Uses DNA to create living bodies that act and behave
similarly to the ‘provider’
Orphan Black – Cloning of humans
Multiple texts feature narratives of the solution to psychological and emotion needs
for a character to relieve them of their grief. These are shown through
programmes, therapy or closure.
Documentaries and News programmes provide articles regarding the usage of
social media and how it impacts users. For example, the news have highlighted
that overuse of social media can impact on school grades.
8. What type of audience is this episode made for?
What sort of impact does Charlie Brooker want on
this audience? Why?
Channel 4:
The series is broadcasted on Channel 4 which provides programmes that are
suited to many different genres. For this particular programme, I would say that a
mature and niche audience would view this series because of the material that the
texts include (e.g. nudity, pornography etc) but also the references that the text
contains, such as the references to the present and future use of technology and
social media. A knowledgeable audience would be able to identify what the text is
presenting in regards to the advancements in technology, especially social media.
The impact that Charlie Brooker has on the viewer is to demonstrate the potential
power that social media has and how it can impact its users. Furthermore, this text
could encourage the audience to review their own online presence as question
themselves as to whether this is the ‘real self’ and whether they want to be
remembered by what is present on their own social media profile/s.
9. What types of technology and media
are explored in Black Mirror?
The text has used technology to portray references that have been taken or
influenced by past media texts. See Intertexutal references on the previous slide
and on the postmodern slide.
Media themes
Dependence on technology – use of social media to create an online presence
Impact of social media and online presence – what’s put online becomes a
representation of yourself
‘Getting what you want’ – Martha wants comfort and sexual gratification
Greif – Pain in ‘real life’ and the use of technology designed to ease or relieve the
pain.
10. Discuss the concept of narrative in black
mirror, does it challenge or reinforce?
Fairly linear = which is typical in TV drama, thus reinforcing
Although, the narrative is also non-linear because at the end, 7 years have past
since the cliff scene, therefore challenges the narrative concept
The end of the text shows that Martha has given birth to her daughter and then
sets the scene for her 7th birthday. “Ash” is living upstairs but is kept away from
Martha and her daughter. Martha explains to her daughter that she may only visit
him on weekends which conforms with the issue of divorced parents and visiting
schedules with children.