Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
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- Creators: Harrington Bioengineering Program
- Creators: O'Flaherty, Katherine
Description
American society reflects a never-ending cycle of sociopolitical anxiety; as one source of anxiety disappears, another materializes. One of the most prominent and relevant examples of a sociopolitical anxiety currently plaguing the United States is our government, especially the president. Donald Trump, a successful businessman with no political background who is infamous for his crass, rude demeanor, is currently in charge of the United States. At the Women’s March in Washington on January 21, 2018, a protestor held up a sign reading “This episode of Black Mirror sucks” in response to President Trump’s election into office. Women, especially, have felt so threatened by Trump’s presence that they have made comparisons between the current political reality and the depressing dystopias illustrated in Netflix’s series Black Mirror. Such comparisons speak volumes about the current state of our country, suggesting that our future is likely to devolve into one similar to the exaggerated and decidedly dark futures portrayed in the series.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
ContributorsRamesh, Bhavna (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / School of Sustainability (Contributor) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Popular culture has a longstanding tendency for being affected by, and reversely affecting, politics. Films, in particular, can exist as either purse “escapism” or heady pathways for political commentary. During the Second World War, governments in both the United States and Great Britain used film as a vessel for their own messages, but after the war ended, the two nations allowed their respective film industries more free expression in commenting on wartime and post-war politics. Film also provided particularly vivid political commentary during, and in the years immediately following, the Cold War. Though film has a longstanding history of being a force for political commentary, the medium’s specific engagement with the Cold War holds particular significance because works produced by the two nations’ film industries paralleled the social trend toward political activism at the time. While films produced in the UK and the United States in the 1960s addressed a wide range of contentious political issues, a huge body of work was spurred on by one of the most pressing political tensions of the time: namely, the Cold War.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
ContributorsNelson, Taylor Lynn (Author) / Miller, April (Thesis director) / O'Flaherty, Katherine (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05