New Subjectivities, Continuities and Fractures in Dystopian Trends in the 21st Century: Black Mirror, a Dark Mirror of Our Here and Now
Dystopian works have a long-standing tradition in our culture. Their gloomy universes are persistent scenarios for the nightmarish stories they tell, where unhappy protagonists are caught in extremely suffocating power systems. Such fictional worlds stand as fundamental domains to explore the greate...
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| Autores principales: | , , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/CultyLit/article/view/31859 |
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| Sumario: | Dystopian works have a long-standing tradition in our culture. Their gloomy universes are persistent scenarios for the nightmarish stories they tell, where unhappy protagonists are caught in extremely suffocating power systems. Such fictional worlds stand as fundamental domains to explore the greatest social and political changes experienced by men. Starting with the industrial transformation and its impact on the factory system, going through the major technological changes of the XXI century, every historical period has dreamt its own utopian and dystopian dreams. At the turn of the millennium, Revolution 2.0 has marked a new era, having a direct impact on the way we see ourselves, other people and the world. The British series Black Mirror problematizes the new exteriorized subjectivities of human beings, which are influenced by the use of digital devices (Sibilia 1999, 2008, 2012), and turns the reflection of the relationship human-technology into a dark mirror where the world around us reflects; in this time and place. |
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