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Notes
1 The vast majority of the literature on the question locates the rise of fractured film narratives in the 1990s.
2 There is a general consensus among different scholars that post-classical cinema followed on from the European modern cinema movement that had its climax in the 1960s. We are particularly interested in the conception of post-classical cinema that highlights its interest in visual spectacle, sometimes at the expense of the film’s narrative dimension (Thanouli, Post-Classical Cinema: An International Poetics of Film Narration; Company and Marzal Felici, La Mirada Cautiva: Formas de Ver En El Cine Contemporáneo.), and in self-reference. This is not to say that post-classical cinema rejects the legacy of classical resources; quite to the contrary, many of the key features of classicism are present in post-classical cinema, and thus “post-classical” does not necessarily have to mean “anti-classical” (Bordwell, “Film Futures.”).
3 Buckland, Hollywood Puzzle Films; Buckland, Puzzle Films: Complex Storytelling in Contemporary Cinema.
4 Elsaesser, “The Mind-Game Film”; Elsaesser, “Los Actos Tienen Consecuencias. Lógicas Del Mind-Game Film En La Trilogía de Los Ángeles de David Lynch.”
5 Mittell, Complex TV: The Poetics of Contemporary Television Storytelling.
6 Bordwell, “Film Futures.”
7 Cameron, Modular Narratives in Contemporary Cinema.
8 Branigan, “Nearly True: Plots , Forking Forking Interpretations.”
9 Simons, “Complex Narratives,” 2008.
10 Elsaesser, “The Mind-Game Film,” 15.
11 Mittell, “Narrative Complexity in Contemporary American Television”; Mittell, “Sites of Participation: Wiki Fandom and the Case of Lostpedia”; Mittell, Complex TV: The Poetics of Contemporary Television Storytelling.
12 Mittell, “Narrative Complexity in Contemporary American Television,” 38.
13 Tellote, “Lost in Space: Television as Science Fiction Icon.”
14 Brooker, Science Fiction Television: A History, 6.
15 Hill, “Anthology Drama: Mapping The Twilight Zone’s Cultural and Mythological Terrain,” 122.
16 “The National Anthem” (#1x01), and “The Waldo Moment” (#2x03) are quite explicit on this point. In both episodes the political space in the media privileges sensationalism, scathing critiques and the humiliation of politicians on television. In this way, the absence of serious and critical debate drags politics into the realm of the reality TV show. Wodak and Forchtner explain how the media’s “recent preoccupation with the cult of celebrity has led to interest in the private lives of politicians” (Talbot, 2007). Thus, private lives are perceived [as] newsworthy and scandalized.”( Wodak and Forchtner, “The fictionalisation of politics”, in The Routledge Handbook of Language and Politics, ed. Ruth Wodak and Bernhard Forchtner (Routledge: London; New York, 2018), 572–586.) In turn, they analyze increasingly successful TV series dealing with politics and the action of politicians, such as The West Wing or House of Cards. According to these authors, these series “provide an apparent window into the ‘realities behind politics’ and construct a proximity that allows viewers to relate more closely to politics and politicians.”
17 Tryon, “TV Time Lords: Fan Cultures, Narrative Complexity, and the Future of Science Fiction Television,” 137.
18 Parks, “Flexible Microcasting: Gender, Generation, and Television-Internet Convergence,” 137.
19 Buckland, Hollywood Puzzle Films, 5.
20 Thanouli, Post-Classical Cinema: An International Poetics of Film Narration, 50.
21 For an examination of the specific resources developed by post-classical cinema in relation to fractured narratives, see Palao-Errando, Loriguillo-López, and Sorolla-Romero (Palao-Errando, Loriguillo-López, and Sorolla-Romero, “Beyond the Screen, Beyond the Story: The Rhetorical Battery of Post-Classical Films.”).
22 Elsaesser, “The Mind-Game Film,” 18.
23 Burch, El Tragaluz Del Infinito: Contribución a La Geneaología Del Lenguaje Cinematográfico.
24 Michaud, Aby Warburg and the Image in Motion, 84.
25 Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive, 275–276
26 Lister, New Media: A Critical Introduction.
27 Manovich, El Lenguaje de Los Nuevos Medios de Comunicación: La Imagen En La Era Digital.
28 Daly, “Cinema 3.0: The Interactive-Image,” 81.
29 Buckland, Hollywood Puzzle Films, 3–4.
30 Bolewski, “Nonlinear Narratives: Crossing Borders between Contemporary Film, Art and Digital Media Practice,” 241.
31 Young, The Cinema Dreams Its Rivals: Media Fantasy Films from Radio to the Internet, 12.
32 Cubitt, The Cinema Effect.
33 Buckland, Hollywood Puzzle Films.
34 For a more detailed reflection on the influence of technology in puzzle films, see Jan Simons (Simons, “Complex Narratives,” 2014.).
35 Zavala, “Para Analizar La Metaficción En Cine,” 86.
36 Català Domènech, “El Tiempo Visible,” 38.
37 Dzialo, “‘Frustrated Time’ Narration: The Screenplays of Charlie Kaufman.”
38 Bauman, Miedo Líquido: La Sociedad Contemporánea y Sus Temores, 17.
39 Kilbourn, Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema, 103.
40 Lury, Prosthetic Culture: Photography, Memory and Identity; Sutton, Photography Cinema, Memory: The Crystal Image of Time.
41 Kilbourn, Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema, 228.
42 Shirky, Here Comes Everybody: The Power of Organizing without Organizations; Shirky, Cognitive Surplus: Creativity and Generosity in a Connected Age.
43 Ball, Haggerty, and Lyon, Routledge Handbook of Surveillance Studies.
44 Kroener and Neyland, “New Tecnologies, Security and Surveillance,” 148.
45 Bruno, “Surveillance and Participation on Web 2.0,” 350.
46 Ibid.
47 Steeves, “Hide and Seek: Surveillance of Young People on the Internet,” 353.
48 Ibid., 359.
49 Allmer, “Critical Internet Surveillance Studies and Economic Surveillance,” 140.
50 Ibid., 141.
51 Lipovetsky and Serroy, La Pantalla Global: Cultura Mediática y Cine En La Era Hipermoderna.
52 Barraycoa and Martínez-Lucena, Black Mirror: Porvenir y Tecnología; García Marín and Aparici, ¡Sonríe, Te Están Puntuando!: Narrativa Digital Interactiva En La Era de Black Mirror.
53 Bender and Palmer, “The Digital Aesthetic of Violence: Introducing the Special Issue,” 2.
54 Bolter and Grusin, Remediation: Understanding New Media.
55 Ibid., 19.
56 Garin, “No More Memories , La Mirada Distópica En Black Mirror,” 124.
57 Vives-Ferrándiz Sánchez, “Todos Los Recuerdos Del Mundo: Ojo, Fotografía y Memoria En Black Mirror.”
58 Baruh, “Publicized Intimacies on Reality Television: An Analysis of Voyeuristic Content and Its Contribution to the Appeal of Reality Programming,” 2009.
59 Skeggs and Wood, Reacting to Reality Television. Performance, Audience and Value, 217.
60 For a detailed analysis of the episode, see Cigüela and Martínez Lucena (Cigüela Solá and Martínez Lucena, “Screen Technologies and the Imaginary of Punishment: A Reading of Black Mirror’s ‘White Bear.’”).
61 Bauman, Miedo Líquido: La Sociedad Contemporánea y Sus Temores.
62 Ferenz, “Fight Clubs, American Psychos and Mementos. The Scope of Unreliable Narration in Film.”
63 Virilio and Armitage, Virilio Live: Selected Interviews, 159.
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Teresa Sorolla-Romero
Teresa Sorolla-Romero is Lecturer at the Communication Sciences Department of the Universitat Jaume I, where she teaches Visual Culture and Audiovisual Editing. She holds an International PhD and she has completed a visiting research period at the Film Studies Research Unit (Oxford Brookes University). She is the author of several scientific articles in journals such as Cuadernos. Info, L’Atalante, Palabra Clave and Quarterly Review of Film and Video. Her main research lines are nonlinear narratives on cinema and the intersection between art and cinema.
José Antonio Palao-Errando
Teresa Sorolla-Romero is Lecturer at the Communication Sciences Department of the Universitat Jaume I, where she teaches Visual Culture and Audiovisual Editing. She holds an International PhD and she has completed a visiting research period at the Film Studies Research Unit (Oxford Brookes University). She is the author of several scientific articles in journals such as Cuadernos. Info, L’Atalante, Palabra Clave and Quarterly Review of Film and Video. Her main research lines are nonlinear narratives on cinema and the intersection between art and cinema.