Nerdwriter: What Makes Black Mirror So Dark?

October 4, 2017

Black Mirror is a British science fiction television anthology series created by Charlie Brooker. It centres around dark and satirical themes that examine modern society, particularly with regard to the unanticipated consequences of new technologies.[1] Episodes are standalone works, usually set in an alternative present or the near future. The show was first broadcast on the British Channel 4, in December 2011. A second series ran during February 2013. Then, in September 2015, Netflix commissioned a third series of 12 episodes, released in 2016.[2] The commissioned episodes were later divided into two series of six episodes. The third series was released on Netflix worldwide on 21 October 2016. Filming for the fourth series concluded in June 2017,[3] with the premiere expected later the same year.[4]

Regarding the programme’s content and structure, Brooker noted, “each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.”[5] The series has received critical acclaim and has seen an increase in interest internationally (particularly in the US) after being added to Netflix.[6] In 2017, the acclaimed series three episode “San Junipero” earned Black Mirror its first Primetime Emmy Awards, for Outstanding Television Movie and Outstanding Writing for a Limited Series, Movie, or Dramatic Special for Brooker.

SOURCES AND FURTHER READING Aristotle’s Poetics: https://www.stmarys-ca.edu/sites/defa… Northrop Frye’s “Anatomy of Criticism” https://monoskop.org/images/5/59/Frye… https://aphilosopher.wordpress.com/20… https://books.google.com/books?id=JrG… “Charles B. Daniels and Sam Scully” Pity, Fear, and Catharsis in Aristotle’s Poetics Noûs, Vol. 26, No. 2 (Jun., 1992), pp. 204-217 Angela Curran, “Brecht’s Criticisms of Aristotle’s Aesthetics of Tragedy” The Journal of Aesthetics and Art Criticism, Vol. 59, No. 2 (Spring, 2001), pp. 167- 184



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