The purpose of this thesis was to analyse the interactive movie Bandersnatch, which is part of the media critical series Black Mirror. The main questions were focused on what Bandersnatch communicate about the power relationship between media and audience, the function of the interactive aspect, and media criticism. A multimodal method and film analysis were used to investigate this. The analysis and discussion were based on several media and communication theories regarding hegemony, mediatization and media criticism. The result showed that Bandersnatch communicate that the audience, and members of a mediatized society, are controlled by the media and the government and therefore does not have free will. This hegemony is upheld by the media that is used to create a false consciousness amongst the public. The interactive aspect of Bandersnatch reinforces this message. Although this is heavily communicated within the film, Black Mirror is not seeking actual reform of the hegemony which leaves the media criticism questionable. / <p>Mats Hyvönen är examinator för den aktuella uppsatsen medan Per Vesterlund är examinator för hela kursen.</p>

Denna studie har som mål att undersöka hur normer och konformitet skapas i ett modernt, teknologiskt samhälle genom att studera satirisk populärkultur. Det är den tredje säsongen av den satiriska, dystopiska tv-serien Black Mirror som studeras. Syftet är att hitta avsnittens gemensamma diskurser kring normer för att därefter göra en koppling till den teknologiska utvecklingen och dagens samhälle. Studiens grundläggande teori och metod är multimodal kritisk diskursanalys (MCDA) som analyserar både skrivna, verbala och visuella tecken. Det teoretiska ramverket består även av socialpsykologisk rollteori, ideologiteori och teknologisk determinism, som används för att hitta och analysera materialets diskursiva teman. Tre teman med fokus på normer upptäcks - rädslan för utanförskap och nonkonformism, politisk ideologi som normskapare samt teknologins påverkan på normer. Trots att seriens avsnitt huvudsakligen utspelar sig i en dystopisk och högteknologisk framtid, är det möjligt att genom tematiseringen observera flera intressanta kopplingar till dagens samhälle. I analysen hittas samband till bland annat förintelsen, Sverigedemokraterna, fenomenet #metoo och Kim Kardashians populära Instagram-konto. / The intention of this study is to explore how norms and conformity is created in a modern, technological society, through studying satirical popular culture. The third season of the satirical, dystopic tv-series Black Mirror, is the subject of analysis. The aim is to find the episodes shared discourses evolving norms, to then draw parallells to technological development and todays society. The underlying theory and method is the multimodal critical discourse anlaysis (MCDA), for an analyzis of written, verbal and visual elements. The teoretical framwork additionally consists of social psycology’s roletheory, ideology theory and techological determinism, which will be used to find and analyze the materials discoursive themes. Three themes with focus on norms are discovered - fear of exclusion and nonconformity, political ideology as a creator of norms and technology’s influence on norms. Although the episodes mainly take place in a dystopic, highly technological future, it is possible through thematisation to observe connections to todays society. Although the series mainly takes palce in a dystopic and highly technological future, it is possible through thematization to observe several interesting parallells to todays society. In the analysis connections are found including The Holocaust, Sverigedemokraterna, the #metoo-fenomenon and Kim Kardashians popular Instagram-account.

As illustrated by the Netflix special Bandersnatch as a cultural phenomenon, the purpose of this study was to analyze how "new" storytelling forms exist in today's convergence culture. This was done by a discursive case study about TV-critics' reception of Bandersnatch, along with smaller comparative discourses covering both relatively traditional film and TV organizations within the media industry, as well as an online forum. Therefore, it was demonstrated how the convergence culture expanded the expression of interactive content. Themes inspired by the reviews included the categorization of Bandersnatch as a media product. The technological aspects of interactive elements were furthermore used in the analysis of the result. Moreover, this was discussed in relation to theories of design and convergence culture. Finally, the results of the study indicated that Netflix's Bandersnatch was compared to both analogue and digital media products. The film's technological aspects were considered to detract from the storytelling experience of a movie, but rather it generated the type of entertainment found in a video game. An insecurity of the future of film as an artform and a dilution of traditional ownership roles also emerged, as the viewer's control continued to be discussed, not only in relation to Bandersnatch, but also to the overall interactive and participatory digital media landscape. / Belyst av Netflix-specialaren Bandersnatch som ett kulturellt fenomen var syftet med denna studie att analysera hur "nya" berättarformer existerar i dagens konvergenskultur. Detta gjordes genom en diskursiv fallstudie om TV-recensenters mottagande av Bandersnatch, ihop med mindre jämförande diskurser som behandlade relativt traditionella film- och TV-organisationer inom mediebranschen samt ett onlineforum. Därmed påvisades också hur konvergenskulturen vidgade uttrycket av interaktivt innehåll. Teman inspirerade av recensionerna inkluderade exempelvis kategoriseringen av Bandersnatch som medieprodukt. De teknologiska aspekterna av interaktiva element användes vidare i analysen av resultaten. Ytterligare diskuterades detta i relation till teorier om design och konvergenskultur. Slutligen indikerade studien att Netflix Bandersnatch jämfördes med både analoga och digitalamedieprodukter. Filmens teknologiska aspekter ansågs förminska berättarupplevelsen som film, men skapade snarare en typ av nöje som återfanns i TV-spel. En osäkerhet om framtiden av film som en konstform uppdagades också, medan tittarens kontroll fortsatte att diskuteras, inte bara i relation till Bandersnatch, utan också i förhållande till helheten av det interaktiva och deltagande digitala medier-landskapet.

Journalism's role in the “Twitter age” is becoming an increasingly hot topic in media studies. This thesis was aimed at analyzing the media portrayal, with special emphasis on the difference between traditional and citizen journalism, in one of the UK’s most talked about recent short films on the media topic, Black Mirror – The National Anthem, and how this could affect the public. Qualitative methods were used to examine the portrayal of both traditional journalism and citizen journalism in the film and the effects aspect was researched through focus group interviews. The results of the content analysis showed that the film depicts traditional journalism as seriously challenged by the speed and extent that citizen journalism can reach through social media – but it also shows a dark side of citizen journalism. My content analysis came to support the idea that the negative portrayal of journalism in the film can affect the public opinion on journalism, in an indirect and complex way.

Orientador: Gabriela Kvacek Betella / Resumo: A presente tese apresenta uma análise comparada entre signos escatológicos, ou seja, relativos à morte, presentes nos contos de Machado de Assis e nos episódios da série televisiva Black Mirror. Amparado pelos preceitos conceituais da Semiótica Interpretativa e pelo modelo metodológico enciclopédico-cognitivo de Umberto Eco, este trabalho apresenta, a princípio, uma discussão teórica realizando um recorte crítico sobre o autor brasileiro e sobre a tipologia das narrativas seriadas audiovisuais contemporâneas, a fim de respaldar o traquejo analítico empreendido. A proposta central desta pesquisa é confrontar processos de elaboração sígnica os quais envolvam questões tanatológicas em oito narrativas: Nosedive e O Espelho, White Bear e A Causa Secreta, San Junipero e A Segunda Vida, e Be Right Back e Um Esqueleto, do programa britânico e da literatura machadiana, respectivamente. Tal labor reflexivo reconhece a inserção dessas produções em um continuum sígnico, situando-as como expressões das mentalidades de seus tempos em vias escatológicas. Para concatenar tais percepções, esta tese forja o pensamento enciclopédico esboçado pelo semioticista italiano, lançando-se na escavação das representações da morte, do paraíso e as atitudes humanas diante do esgotamento da vida desde a Antiguidade Clássica até os dias atuais, por vieses históricos, culturais e sociais, permitindo que se crie um panorama-arcabouço acerca desses signos no decorrer dos tempos e suas ressonâncias. Por fim, a ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis presents a comparative analysis between eschatological signs, that is, concerning death, present in Machado de Assis' short stories and in the episodes of the Black Mirror television series. Supported by the theoretical precepts of Umberto Eco's Interpretive Semiotics and encyclopedic-cognitive methodological model, this work introduces an academic discussion, making a critical cut about the brazilian author and the contemporary audiovisual serial narratives typology, to support the analytical approach undertaken. This research main purpose is to confront sign elaboration processes that involve tanatological questions at eight narratives: Nosedive and The Mirror, White Bear and The Secret Cause, San Junipero and The Second Life, and Be Right Back and A Skeleton, from the british program and Machado's literature, respectively. Such reflexive work recognizes the insertion of these productions in a signic continuum, situating them as expressions of their times mentalities in eschatological ways. To concatenate these perceptions, this thesis forges the encyclopedic thinking outlined by the Italian semioticist, launching into the excavation of death, paradise and human attitudes towards the exhaustion of life representations from classical antiquity to the present day, by historical biases, cultural and social aspects, allowing a framework to be created about these signs over time and their resonances. Finally, comparative analysis handles semiosis arranged in differen... (Complete abstract click electronic access below) / Astratto: Questa tesi presenta un’analisi comparativa tra segni escatologici, cioè riguardi alla morte, presenti nei racconti di Machado de Assis e negli episodi della serie televisiva Black Mirror. Supportato dai precetti concettuali della Semiotica Interpretativa e dal modello metodologico enciclopedi-cognitivo di Umberto Eco, questo lavoro presenta, all’inizio, una discussione teorica, da un ritaglio critico sull’autore brasiliano e sulla tipologia delle narrazioni seriali audiovisive contemporanee, al fine di sostenere l’approcio analitico adottato. Lo scopo principale di questa ricerca è quello di affrontare i processi di elaborazione dei segni che coinvolgono domande tanatalogiche in otto narrazioni: Nosedive e Lo Specchio, White Bear e La Causa Segreta, San Junipero e La Seconda Vita, e Be Right Back and Lo Scheletro, del programma britannico e della letteratura di Machado rispettivi. Questo lavoro riflessivo riconosce l’inserimento di queste produzioni in un continuum signico, prendendole come espressioni delle mentalità dei loro tempi in vie escatologiche. Per concatenare queste percezioni, la presente tesi forgia il pensiero enciclopedico delineato dal semioticista italiano, a scavare delle rappresentazioni di morte, paradiso e atteggiamenti umani di fronte al esaurimento della vita dall’antichità classica ai giorni attuali, da vie storici, culturali e sociali, creando un quadro su questi segni nei tempi e le loro risonanze. Infine, l’analisi comparativa gestisce semiosi disp / Doutor

Los textos de CineScrúpulos son elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la UPC. Las imágenes utilizadas son de distintas páginas web. El uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / se ha convertido en un referente cinematográfico por derecho propio. La figura que se aleja como danzando, dueña de su propio futuro incierto, es una de las odas más hermosas al optimismo y a la sonrisa permanente, a pesar de las adversidades que afronta. Porque no debemos olvidar que Charlot es pobre pero digno, a pesar de que Chaplin, el personaje de carne y hueso, estuvo rodeado de una serie de polémicas por sus aparentes constructos ideológicos y por su conocido interés por las féminas. Pero eso no opaca un corpus fílmico que alumbró piezas que hoy son consideradas clásicos indiscutibles de la historia del cine. Por ello, en aras de saldar una cuenta pendiente, hemos decidido dedicar la presente edición de CineScrúpulos al genio de Chaplin. Pero no es lo único. Como suele suceder en cada ciclo académico, este número viene sazonado con algunos artículos interesantes. Nuevamente ingresamos al terreno de la tecnología para indagar si el universo de futuro que plantea la serie Black mirror tiene algún punto de conexión con el imaginario que despliega James Cameron en sus películas. De más está decir que el autor de Terminator (James Cameron, 1984) es un visionario y enfrenta en cada una de sus obras una serie de retos a nivel técnico pero también narrativo. Lástima que el presente texto haya sido elaborado antes del estreno de ese laberinto de discurso que es Black mirror: Bandersnatch (David Slade, 2018), pero prometemos en el futuro una indagación al respecto. Los dibujos animados también tienen su espacio en CineScrúpulos. Por supuesto, estamos hablando de los ejemplos más descabellados, surrealistas y transgresores que uno puede tener a mano. ¿Dragon Ball Z? No te pases. El universo de Chuck Jones está plagado de delicias que se disfrutan mejor a medida que pasan los años. Y Space jam (Joe Pytka, 1996) fue un producto altamente disfrutable en la década de los noventa. La gran interrogante que se plantea es si maneja el mismo tipo de comedia o toma otros referentes. Leer para creer. Y ya que hablamos de risotadas, el tercer artículo de fondo intenta establecer similitudes y diferencias entre un puñado de películas marca Tondero y otras que establecen nuevos derroteros en el cine de género en el Perú y que tiene que ver con el desenfreno. Es bueno hacer industria, pero las voces disidentes merecen ser escuchadas. Como puedes ver, esta edición está plagada de sonrisas.

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This study explores the representation of femininity in The Handmaid's Tale and compares it with Black Mirror using theoretical perspectives such as performativity theory, and sociocultural feminism. The focus is on how gender and identity are constructed within popular culture, particularly in a dystopian context. The study analyzes women's roles, resistance to the system, the link between reproduction and power, and the use of clothing and body language. Through theoretical lenses, the essay reveals the complexity of gender construction and its relationship to societal norms and power structures. The findings contribute to understanding how popular culture shapes perceptions of femininity and gender.

Thesis: The TV series Black Mirror as a substantial creation of British TV production Abstract: ENG The thesis deals with the analysis of the British TV anthology Black Mirror. It examines the program in terms of authorship, processing method, theme, genre, and impact on society. The aim is to determine the basic characteristics of the Black Mirror and to point out its uniqueness in the context of current trends in television content. In individual chapters, it focuses on the role of authorship, the definition of the genre and the definition of the main topic. The program is also subjected to a narrative and stylistic analysis that examines the way the story is constructed, the narrative structure, the work with the characters, the environment and the style. Furthermore this thesis also want to examine the the extent to which the topics of Black Mirror correspond to reality. The result of this research offers a complex picture of Black Mirror, including a comparison with selected British television programs.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-15T11:36:15Z No. of bitstreams: 1 Francisco Beltrame Trento.pdf: 21869422 bytes, checksum: a3f6dcfdd56e97505e57f2865264ec30 (MD5) / Made available in DSpace on 2017-12-15T11:36:16Z (GMT). No. of bitstreams: 1 Francisco Beltrame Trento.pdf: 21869422 bytes, checksum: a3f6dcfdd56e97505e57f2865264ec30 (MD5) Previous issue date: 2017-12-06 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Contemporaneity is characterized by the interweaving of human beings with multiple media forms, through material mediatic objects (our black mirrors). Also by stimuli and incorporeal enunciates that are embodied by them, or in which they momentarily crystallize themselves. These dispositives and networks have been represented in the audiovisual field, scenic arts, performance and literature frequently. The television anthology Black Mirror (Channel Four, 2011-2014; Netflix, 2016-), one of the fictional guides in our analysis, is a set of narratives that, exacerbating this state of things, discusses how those media ecosystems are intrinsically linked with the production of desires in the individuals. We aim to identify and map those modulations through a Spinozist semiotic of affects. Among the affects, we have identified the production of a desire to control, a mode of existence or set of ideas that presupposes that we have the total control of situations and absolute truth through the same media dispositives that involves us. We relate that to the production of subjectivity of the standard ideal neurotypical human being, or of the fine products that emerges from the processes of the antropotecnical eugenic machine, studied by Fabian Ludueña. Starting from this point, we aim to focus the communication processes as agencements or encounters (occursus). Following Black Mirror’s narrative, we seek to produce a mediatic cartography of good and bad encounters, not constructed through moral systems, but following Spinoza’s ethical evaluation, mapping composition and decompositions, increases and decreases of potency observing the semiotical production of desires through affections. Besides the desire to control, which emerged from the anthropocentric and anthropotechnical crusade, other types of desires can be machined in the subjectivities engaged to the omnipresent media dispositives as part of the contemporaneous capitalist system, as the desire of emulation or the desire of imitation, explained in Spinoza's “definition of affects”. The difficult task is to think escapes or lines of flight to these types of media agencements that can emerge performatively/artistically by experimenting with the same media materialities or enunciative apparatuses (we don’t consider them neither good or evil but they can be (re) allocated in agencements that produce good or bad encounters in a field of immanence). It requires to look for the production of good encounters and active agency, or to think new possibilities of world construction. We consider that, in the presence of the exhaustion produced by the control systems, minor and apparently contingent gestures and artistic practices can resist to the total control and normativity. It’s through them that we advocate in favor of an immanent critique of media, incongruent to identitarian bubbles and politics – that usually target moral judgement without observing events’ causality network and the desires agenced in its nodes. Against that, we ally with the philosophy of Baruch Spinoza, Gilles Deleuze, Catherine Malabou and other contemporary rereadings of the Dutch philosopher that can relate with them, as the work of Brian Massumi. To discuss the emergent issues of those complex questions, and try to develop an immanent media critique, Brian Massumi and Erin Manning bring us their particular interpretations of immanent critique, performed through research-creation art practices and minor/disruptive gestures / O cerceamento dos seres humanos por múltiplas formas de mídia, ou por meio dos objetos midiáticos materiais (nossos espelhos negros), ou dos estímulos e enunciados incorporais que deles derivam, ou que neles se cristalizam momentaneamente, tem sido discutido no campo audiovisual (cinema e televisão), nas artes cênicas, em performances e na literatura. A antologia televisiva Black Mirror (Channel Four, 2011-2014; Netflix, 2016-), um dos guias ficcionais de nossas análises, é um dos conjuntos de narrativas que, extremando essa possibilidade, mostra como esses novos ecossistemas e agenciamentos midiáticos modulam de distintas formas a produção de desejo nos indivíduos. Um de nossos objetivos é observar e cartografar tais novas modulações de desejo e afetos. Dentre elas, detectamos a produção de um desejo de controle, um modo de ser ou um conjunto de ideias de que temos o controle das situações por meio dos mesmos dispositivos midiáticos que nos envolvem. Procuramos enfocar a comunicação como agenciamento ou encontro (occursus). Por meio da narrativa de Black Mirror, buscamos produzir e identificar uma cartografia de bons e maus encontros, não mediante uma moral, mas sim, a partir da diferenciação entre os dois conceitos de acordo com a Ética, de Spinoza. Além do desejo de controle, outros tipos de desejos são maquinados nas subjetividades acopladas aos media onipresentes e suas inserções no capitalismo contemporâneo, como o desejo de emulação ou o desejo de imitação. A difícil tarefa é pensar os foras a esses tipos de agenciamentos midiáticos de controle, a partir das próprias ferramentas midiáticas maquínicas ou enunciativas, discutindo novas possibilidades de construção de mundos e possíveis. Diante da exaustão, os gestos disruptores e aparentemente contingentes resistem ao controle e à normatização. É por meio deles que buscamos advogar a favor de uma crítica imanente das mídias, que pretende não se adequar às bolhas e políticas identitárias discursivizadas nas mídias, visando a vigilância e o julgamento moral sem observar sua causalidade a partir de uma avaliação ética. Para pensar a comunicação como agenciamento ou encontro, bem como as particularidades dos desejos que se agenciam nessas redes, nos aliamos à filosofia de Baruch Spinoza, Gilles Deleuze, e a algumas leituras contemporâneas que com ela se relacionam, como as feitas por Brian Massumi e Catherine Malabou. Para discutir essa problemática e pensar uma crítica midiática imanente que não retroalimente o ideário de controle, Brian Massumi e Erin Manning, com suas versões do conceito de crítica imanente, auxiliam-nos nessa questão