Tutti i possibili noi stessi. Schermi per identità alternative e sé virtuali da Asimov a Black Mirror

Authors

  • Donatella Boni

DOI:

https://doi.org/10.13136/2281-4582/2020.i15.726

Keywords:

screens, what-if, fantastic in narrative, social networks, Black Mirror (TV series)

Abstract

The article deals with chance, fate and free will in twentieth and twenty-first century fiction (short stories, movies, tv series). It examines fantastic narratives, where screens can show sequences from the past, from the future or from a parallel, alternative and virtual present. Recently, internet, instant messaging, social networks have added new dimensions of reality in our experience and new themes in fiction on fate and free will, life and death, time and memory. Internet now contains countless “new possibilities,” including many possible identities for us, existing, yet to be created or to be bequeathed to posterity. New types of fictional writing are probably about to be invented, so as new types of reality are coming our way.

References

Asimov, Isaac. “Fantascienza e cinema.” Cinema domani 1.6 (1962): 10-11.

---. “What If.” Fantastic June 1952: 106-118.

Bauman, Zygmunt e Riccardo Mazzeo. Elogio della letteratura. Torino: Einaudi, 2017.

---. La vita tra reale e virtuale. Milano: Egea, 2014.

Caronia, Antonio. Archeologie del virtuale. Verona: Ombre Corte, 2001.

Cronenberg, David. eXistenZ. 1999.

Day, Charles. “Our Black, Imperfect Mirrors.” Computing in Science & Engineering 18.1 (2016): 108.

Dick, Philip K. Rapporto di minoranza e altri racconti. Trad. it. di Paolo Prezzavento. Roma: Fanucci, 2002.

Giroux, Henry. “La cultura selfie in uno stato diviso tra interessi economici e sorveglianza.” Iperstoria 6 (2015): 315-319. http://www.iperstoria.it/joomla/images/PDF/Numero_6/generale_6/Giroux_intestato.pdf. Tutti i siti sono stati visitati in data 28/02/2020.

Harris, Owen. Torna da me (Be Right Back). Black Mirror stagione 2, episodio 1, Zeppotron 2013.

Hill, Doug. “Black Mirror.” IEEE Technology and Society Magazine 36.2 (2017): 35, 87.
Howitt, Peter. Sliding Doors. 1998.

Kieślowski, Krzysztof. Destino cieco (Przypadek). 1987.

Matthews, Brander. “The Kinetoscope of Time.” Scribner’s Magazine 18.6 (1895): 733-745.

Maggitti, Vincenzo. Lo schermo fra le righe. Napoli: Liguori, 2007.

Minois, Georges. Histoire de l’avenir. Paris: Fayard, 1996.

Moriggi, Stefano e Gianluca Nicoletti. Perché la tecnologia ci rende umani. Milano: Sironi, 2009.

Morin, Edgar. L’uomo e la morte. Trento: Erickson, 2014.

Morris, Steven. “Second Life Affair Leads to Real Life Divorce.” The Guardian online 14 novembre 2008. https://www.theguardian.com/technology/2008/nov/14/second-life-virtual-worlds-divorce.

Pfister, Wally. Transcendence. 2014.

Rositi Franco e Vincenzo Viola. “Umberto Eco. Internet, el memorioso. Intervista a Umberto Eco.” L’Indice dei libri del mese on line 27.6 (2010). https://www.lindiceonline.com/incontri/interviste/umberto-eco-internet/.

Spielberg, Steven. Minority Report. 2002.

Tani, Stefano. Lo schermo, l’Alzheimer, lo zombie: tre metafore del XXI secolo. Verona: Ombre Corte, 2014.

Ugrešić, Dubravka. Cultura Karaoke. Roma: Nottetempo, 2015.

Welsh, Brian. Ricordi pericolosi (The Entire History of You). Black Mirror stagione 1, episodio 3, Zeppotron 2011.

Zizek, Slavoj. Credere. Roma: Meltemi, 2005.

Downloads

Published

2020-06-01

Issue

No. 15 (2020): Populism and Its Languages

Section

Articles (general section) - American language, literature, and culture

License

Copyright (c) 2020 Donatella Boni

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

 Iperstoria is an Open Access journal.
  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution 4.0 BY-NC License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of their work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. We require authors to inform us of any instances of re-publication.