In the era of digital and internet-driven transformations, television has undergone a radical metamorphosis, giving rise to what critics term the ‘transing’ of its aesthetics and content. Scholars such as Michael Goddard and Christopher Hogg provide valuable insights into this transformative process. To delve deeper into this phenomenon, let’s analyze an exemplary digital audiovisual media: “Black Mirror.”

“Black Mirror,” created by Charlie Brooker, serves as a testament to the aesthetic evolution fostered by the ‘transing’ of television. The show, with its dystopian and speculative narratives, embraces a visual language that transcends traditional television norms. Drawing from Goddard’s insights, the series showcases a departure from the standard aesthetics of network television, opting for a cinematic approach that capitalizes on the creative possibilities afforded by digital platforms.

The meticulous cinematography, attention to visual detail, and high production values in “Black Mirror” contribute to an immersive viewing experience. The show leverages digital advancements to craft visually stunning narratives that often blur the lines between television and film, exemplifying the transformative impact of the digital realm on television aesthetics.

“Black Mirror” embodies the narrative shifts associated with the ‘transing’ of television. Each episode functions as a standalone story, allowing for a diverse range of narratives that explore the dark corners of our relationship with technology. This anthology format, a departure from traditional episodic storytelling, aligns with Goddard’s idea of renegotiating the boundaries of the medium.

Furthermore, the show capitalizes on the binge-watching culture facilitated by digital platforms. Viewers are encouraged to consume multiple episodes in one sitting, allowing for a more immersive and continuous narrative experience. This engagement strategy reflects a departure from the linear storytelling typical of traditional television, showcasing the impact of digital transformations on content consumption patterns.

“Black Mirror” doesn’t merely present narratives; it engages audiences in a dialogue about the consequences of advancing technologies. The show’s thought-provoking themes spark discussions on social media platforms, creating a participatory culture that aligns with Goddard’s notion of breaking down barriers between creators and audiences.

Moreover, the series extends its narrative universe beyond the screen through various interactive elements. For example, the episode “Bandersnatch” is an interactive film that allows viewers to make decisions that influence the story’s outcome. This convergence of traditional storytelling with interactive elements exemplifies how digital transformations have expanded the narrative possibilities of television, resonating with Hogg’s concept of media convergence.

“Black Mirror” leverages the on-demand nature of digital platforms, allowing viewers to engage with the content at their own pace. The anthology format means that episodes can be consumed in any order, providing a level of customization in the viewing experience. This departure from the scheduled programming of traditional television aligns with the shift towards on-demand viewing, reinforcing Goddard’s argument that customization diversifies content consumption.

In conclusion, “Black Mirror” stands as a prime example of the ‘transing’ of television aesthetics and content in the digital age. The series, with its visually striking narratives, innovative storytelling structures, and interactive elements, reflects the transformative impact of digital and internet-driven changes. Through the lens of this digital audiovisual media, we witness not only the evolution of television aesthetics but also a redefinition of how audiences engage with and consume content in the contemporary media landscape.

References:

Black Mirror: Bandersnatch Trailer (2018) netflix (2018) YouTube. Available at: https://www.youtube.com/watch?v=7wnRi3Sclm8 (Accessed: 29 November 2023).

Michael Goddard and Christopher Hogg (2018), ‘Introduction: Trans TV as concept and intervention into contemporary television’, Critical Studies in Television 13:4: https://journals.sagepub.com/doi/full/10.1177/1749602018798217Michael Goddard and Chris Hogg 2020, ‘Introduction: Trans TV Re-evaluated part II’, Trans TV Dossier 3, Critical Studies In Television 15: 3: https://journals.sagepub.com/toc/csta/15/3

By: Octavie Drevon