Against interactivity. Phenomenological notes on Black Mirror: Bandersnatch


  • Adriano D'Aloia Università degli Studi della Campania "Luigi Vanvitelli"



Interactive cinema, Bandersnatch, Black Mirror, Netflix, Transmedia storytelling


Interactive cinema is one of the most interesting areas of experimentation with storytelling form. Black Mirror: Bandersnatch (2018), a stand-alone episode of the acclaimed British television series available on Netflix, has restarted the debate around this genre. This article offers a discussion of several critical elements inherent to the experience of viewing Bandersnatch, specifically those related to its interactive, meta-reflexive, and ludic character. The tension between interactive and interpretative cooperation, between actuality and virtuality, between self-reflexivity and self-referentiality, between free choice and control, between co-authorship and authority, and between gaming and gambling, bring out the contradictions of a product characteristic of the current transmedial landscape.


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TV series and other media cited

Black Mirror (Channel 4, 2011-2014; Netflix, 2016-)

Black Mirror: Bandersnatch (David Slade, 2018)

Ready Player One (Steven Spielberg, 2018)

Sugarcane Island (Edward Packard, 1976)




How to Cite

D’Aloia, A. (2020). Against interactivity. Phenomenological notes on Black Mirror: Bandersnatch. Series - International Journal of TV Serial Narratives, 6(2).



Narratives / Aesthetics / Criticism