Black Mirror and post-cinema from the rhizomatic perspective

Abstract

This document aims to establish links between the theories of postmodern aesthetics developed by Gilles Deleuze and Felix Guattari and post-cinema theories. Since the introduction of the terms used by Deleuze such as the rhizome, a concept that he uses as a metaphor to explain a transversal thought, links have been established between these theories and the film developed by Netflix and Black Mirror: Bandersnatch. Post-movie perspectives are very useful to understand the context in which this film is created. The image crisis and the emergence of digital cinema, as well as the Internet and streaming platforms, represent a change in the paradigm of cinema and the spectator, who ceases to be a passive subject and becomes an active subject. Through a rhetorical analysis, the work is analyzed, taking into account the assumptions previously established by the theories of Deleuze and Guattari. Concluding Bandersnatch as a work that seeks continuous consumption, attracting the viewer who seeks greater participation and the viewing of the multiple options offered by the film.