Dean Biron teaches in the School of Justice, Queensland University of Technology and the School of Criminology and Criminal Justice, Griffith University. She is a cultural philosopher, media and film scholar, whose books include: Tim Burton: The Monster and the Crowd (2010), The Trickster and the System: Identity and Agency in Contemporary Society (2014), Jungian Film Studies: the Essential Guide (2016 co-authored with Luke Hockley) and Jungian Theory for Storytelling: a Toolkit (2018). Helena Bassil-Morozow is a Lecturer in Media and Journalism at Glasgow Caledonian University.
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God Is an Algorithm: Free Will, Authenticity and Meaning in Black Mirror Helena Bassil-Morozow Latent Memory, Responsibility and the Architecture of Interaction Kristin Veel Living on Beyond the Body: The Digital Soul of Black Mirror Clarissa Carden and Margaret Gibson Invasive Gaming, Bio-Sensing and Digital Labour in Playtest Gareth Schott and Nick Munn Spectacular Return: Re-performance Inexhausted in ‘White Bear’s’ Exhibitionary Complex Bryoni Treziseįacial Obfuscation and Bare Life: Politicizing Dystopia in Black Mirror Grant Bollmer Hand Borges’s “Infinite Finite” in Charlie Brooker’s Black Mirror Suzie Gibson and Dean Biron Lifelogging, Datafication and the Turn to Forgetting: Thinking Digital Memory Studies Through The Entire History of You Penelope Papailias Introduction: The Moral Uncanny in Netflix’s Black Mirror Margaret Gibson and Clarissa Carden Reflected Anxieties and Projected Dystopias: Black Mirror, Domestic Media and Dark Fantasy Richard J. Cover image: Morocko/Alamy Stock Photo Cover design by eStudioCalamar This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: GewerbestraCham, Switzerland The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The use of general descriptive names, registered names, trademarks, service marks, etc.
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ISBN 978-4-2 ISBN 978-5-9 (eBook) © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021 This work is subject to copyright. The Moral Uncanny in Black Mirror Edited by Margaret Gibson Clarissa CardenĮditors Margaret Gibson Griffith University Nathan, QLD, AustraliaĬlarissa Carden Griffith Centre for Social and Cultural Research Griffith University Nathan, QLD, Australia God Is an Algorithm: Free Will, Authenticity and Meaning in Black Mirror. Inside–Outside: Consequences, Responsibility and Accountability.īoundaries and Transgressions: Interaction, Participation and Control. Latent Memory, Responsibility and the Architecture of Interaction.
‘Powerful Phrase: Familiar Phrase?’.ĭigital Immortality in Black Mirror. Invasive Gaming, Bio-Sensing and Digital Labour in Playtest. The Foundations of Facial Obfuscation in Black Mirror.Ĭonclusion: Destituent Potentiality. Scenario 2: Exhibitionary Redux.Īnchoring the Viral Child in Postdigital Culture.įacial Obfuscation and Bare Life: Politicizing Dystopia in Black Mirror.įacial Recognition and Facial Obfuscation. The Archival Present, Hyperconnectivity and the Turn to Forgetting.Īlgorithmic Memory and Data-Stories. Prosthetic, Mobile and Total Memory.įrom Cultural Memory to Notes to Self. Lifelogging, Datafication and the Turn to Forgetting: Thinking Digital Memory Studies Through The Entire History of You. The Entire History of You’s Disturbing Familiarity.ĭoubling and Spiralling in Black Mirror and Borges. Reflected Anxieties and Projected Dystopias: Black Mirror, Domestic Media and Dark Fantasy.īorges’s “Infinite Finite” in Charlie Brooker’s Black Mirror. Introduction: The Moral Uncanny in Netflix’s Black Mirror.
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