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We Have Always Been Posthuman: the Articulation(S) of the Techno/Human Subject In We Have Always Been Posthuman: The Articulation(s) of the Techno/Human Subject in the Anthology Television Series Black Mirror A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Quang Ngo August 2020 © 2020 Quang Ngo. All Rights Reserved. This dissertation titled We Have Always Been Posthuman: The Articulation(s) of the Techno/Human Subject in the Anthology Television Series Black Mirror by QUANG NGO has been approved for the School of Media Arts & Studies and the Scripps College of Communication by Wolfgang Suetzl Assistant Professor of Media Arts & Studies Scott Titsworth Dean, Scripps College of Communication ii Abstract QUANG NGO, Ph.D., August 2020, Media Arts & Studies We Have Always Been Posthuman: The Articulation(s) of the Techno/Human Subject in the Anthology Television Series Black Mirror Director of Dissertation: Wolfgang Suetzl This dissertation investigates how Netflix’s Black Mirror (2011—) articulates both the technology/human interconnectedness and a varied array of posthuman subjects within the narrative. I engage with posthumanist theory and utilize narrative rhetorical criticism and the method of articulation to analyze a selection of ten episodes. Based on the textual analysis, I contend that each selected narrative reveals a unique hypothetical scenario that questions the humanist conceptualization of human nature in addition to envisioning potentials for challenging the common understanding of self, identity, subjectivity, and agency. With its controversial and multilayered articulations of the posthuman condition, I propose that this quality science fiction television program takes as its central theme the symbiotic technology/human relationship as the kernel of a co- constructed reality between these two actants in the digital age. I suggest that Black Mirror introduces five shades of be(com)ing posthuman: be(com)ing alienated, be(com)ing cyborg, be(com)ing fractured, be(com)ing immortal, and be(com)ing human. Ultimately, I argue for an empathetic techno/human future that recognizes that both technology and humans matter and mutually influence one another in the construction of the techno/human subject that is unapologetically cyborg, hybrid, and posthuman such that it refuses to be categorically unadulterated and pure. iii Dedication To all the women who have deeply impacted my life, especially bà ngoại, mẹ, and Ti To a few men who do so: ông ngoại, ba, cậu 7, and most importantly em Vinh iv Acknowledgments It is a truism unanimously agreed upon that a Ph.D. journey is a long and winding one. And I myself can certainly and personally attest to that. Indeed, every single moment spent on writing and completing this dissertation has been intellectually challenging, emotionally draining, and physically exhausting. I can surely count how many times that I would have a mental breakdown, just wanting to cry, laugh, and scream at the same time (no pun intended), when working on this project. But I manage to somehow survive and make it through. Now that my Ph.D. journey has come to an end, I can confidently say that I can finally see the light at the end of the tunnel and that I have never felt happier, more accomplished, and more relieved in my life. And for that, I would like to thank my committee for this greatest achievement. My greatest gratitude, of course, goes to none other than Dr. Wolfgang Suetzl, who is the best advisor that a student can ever wish for. Dr. Suetzl, whose knowledge and erudition have constantly pushed me to think harder and think more deeply about critical theory, has been extremely supportive of this project. Dr. Suetzl offers one of the best pieces of advice that I will forever take with me—that is, “You have to always anticipate what your reader will ask you.” Most importantly, I sincerely appreciate that you would read everything I would send to you and that you would be patient whenever I would miss the deadlines. I am deeply indebted to Dr. Eve Ng, who is the kindest and nicest professor that a student can ever ask for. Dr. Ng understands my academic struggles and has always been welcoming whenever I would come to her for advice. I am deeply indebted to Dr. Roger v Aden, who is like a fatherly academic figure to me. Dr. Aden has always been there for me the moment I asked him to serve as my committee member. Talking to him and discussing scholarly work with him have been one of the highlights during my graduate studies. And finally, I am deeply indebted to Dr. Myrna Sheldon, who has made a great impact on how I comes to see myself as a critical and feminist scholar. Dr. Sheldon introduces me to feminist science studies, and most significantly, the scholarship of Donna J. Haraway, which comes to be the main inspiration for this project. And for that, I am deeply grateful. I am thankful for my family for their unconditional love and for putting up with my complaints. I would like to thank my extended family, too, for their warm support. A huge thanks to my professors, my close friends as well as my colleagues who have been with me through this journey. In particular, I would like to give a special shout out to my best friend, Dr. Mark Congdon, Jr., who is the most understanding and thoughtful person that I have ever met. Finally, I would like to thank Grace Nguyễn and Châu Nguyễn for their amazing, loving, and wonderful friendship. Xin cảm ơn mọi người! vi Table of Contents Page Abstract .............................................................................................................................. iii Dedication .......................................................................................................................... iv Acknowledgments............................................................................................................... v Preface................................................................................................................................ xi Chapter 1: Introduction ....................................................................................................... 1 Setting the Stage ........................................................................................................... 1 Overview of the Changing Television Landscape ........................................................ 3 Background of the Study .............................................................................................. 7 Rationale of the Study ................................................................................................. 10 Purpose of the Study ................................................................................................... 14 Chapter Breakdown .................................................................................................... 14 Chapter 2: Literature Review ............................................................................................ 19 Television Studies ....................................................................................................... 20 Post-Network Television ............................................................................................ 33 Netflix ......................................................................................................................... 39 Quality Television Programming ................................................................................ 43 Quality Television ................................................................................................. 44 Quality Television and HBO ................................................................................ 49 Science Fiction Television .................................................................................... 56 Science Fiction Television and Black Mirror ............................................................. 77 Chapter 3: Theoretical Framework ................................................................................... 79 Posthumanist Theory .................................................................................................. 79 Posthumanist Theory and New Materialism ............................................................... 86 Posthumanist Theory and the Posthuman Subject ...................................................... 93 Posthumanist Theory and Be(com)ing...................................................................... 101 Posthumanist Theory and Science Fiction ................................................................ 106 Posthumanist Theory and Black Mirror ................................................................... 109 Chapter 4: Methodology ................................................................................................. 112 Qualitative Research ................................................................................................. 114 vii Critical Theory and Textual Analysis ....................................................................... 115 Narrative Rhetorical Criticism ............................................................................ 120 The Method of Articulation ................................................................................ 130 Procedure .................................................................................................................. 133 Positionality .............................................................................................................
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