The Dystopian Sound of Black Mirror
Black Mirror has left an indelible mark on pop culture and has captivated technology and series lovers alike. Created by Charlie Brooker and produced by Zeppotron, this innovative British series immerses us in a dystopian, and terrifyingly close, future where technology, on which we are increasingly dependent, plays a fundamental role in our lives, bringing to light the darkest aspects of humanity.
Throughout its six seasons and one interactive movie, Bandersnatch, Black Mirror displays a dark and broken mirror in which we can take a disturbing and provocative look at the effects of technology on society. Each episode is presented as a window into possible dystopian realities, leaving the viewer pondering the social, moral, and ethical implications of technological advancement. But it is not only the plot and narrative that captivate the audience but also the sound, which becomes an essential element to immerse us in this futuristic and disturbing world.
From the point of view of sound design, the first thing to say is that one of the factors that have made Black Mirror a successful production is that it has not only met the conventions of the dystopian genre in which it is framed, but the unexpected way in which it has fulfilled that expectation. Sound design for a dystopian series like Black Mirror must immerse the viewer in a disconcerting, futuristic world, creating a unique aural experience that complements the narrative. It must evoke emotions of unease, uncertainty, and wonder while reflecting the bleak portrayal of a technologically saturated society. The use of innovative sound effects is crucial to building immersive and realistic environments. For example, in the episode "Nosedive," the sounds of electronic devices and constant notifications reinforce the obsession with the social image. In "USS Callister," spatial effects and the hum of technology bring the virtual world to life.
On the other hand, music also plays an essential role. It should be atmospheric and evocative, highlighting moments of tension and drama. In "Fifteen Million Merits," the song "Anyone Who Knows What Love Is (Will Understand)" becomes a tragic leitmotif, reflecting the loss of humanity in a fame-obsessed society. The series, with its near-future setting and anthology format, presented unique challenges. How do you create a believable sound for non-existent technology? How do you achieve a consistent score while the stories, locations, and characters change with each episode? These questions drive the talented creators behind the series' audio to seek innovative solutions.
Jim Goddard, the sound editing supervisor, presented once a unique sound world, using synthesizers and manipulated recordings to create a futuristic technological environment. Charlie was actively involved in how the technology sounds, designing options for ringtones and alerts to gain early approvals. Goddard avoided being influenced by classic science fiction and instead sought inspiration from conversations with Brooker and the directors. Sometimes, ringtones and notifications from modern devices and social networks were a starting point, but he transformed them into original versions. For example, in the episode "Hated in the Nation," he drew from social media, creating sounds familiar enough for the viewer to identify the platform. Through creative collaboration, the team was able to build an authentic and captivating sound world for each episode of the series. Black Mirror featured episodes with diverse tones, conveying a cynicism about the impact of technology on people's lives. Maintaining the dark atmosphere throughout the previous five seasons was a challenge. The synergy between sound and image has been crucial to achieve this effect.
Each episode presents unique challenges in sound design. In "Nosedive," electric vehicle sounds had to be created that sounded different from the familiar ones. In addition, ringtones and text messages presented difficulties due to copyright issues, requiring meticulous recreation by sound editor Stefan Henrix. Care and creativity in sound design have been essential to maintaining Black Mirror's impressive atmosphere. For example, Steve Browell wanted each sound in "Striking Vipers" to have a specific style and spent a lot of time making sure it matched the machine, technology, and speaker in play. He used a variety of vintage analog gear, such as oscillators, delays, compressors, and distortion modules, to get original sounds that perfectly matched the mood of the series. He then worked in Pro Tools to shape these sounds and create the desired atmosphere. While Pro Tools and its plug-ins are excellent tools, Browell emphasizes the importance of having a clear vision of the sound you want to achieve and using the tools to achieve that goal, rather than letting the tools dictate the creative process.
Black Mirror has managed to captivate its audience with its unsettling look at the impact of technology on society, maintaining its dark and dystopian atmosphere throughout its seasons, thanks in part to creativity and care in sound design - the latter of which has become an essential element in immersing the viewer in a futuristic and disturbing world. The team behind the audio has faced unique challenges in creating believable sounds for technologies that do not yet exist and has managed to maintain coherence amidst changing stories, locations, and characters through the use of innovative sound effects and atmospheric music, in a unique listening experience that complements the provocative narrative of the series.
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