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Dissertations / Theses on the topic 'Dystopian Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Hinders, Katherine Elizabeth. "Reproducing Patriarchy: Dystopian (In)fertility Onscreen." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2582.

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During this time of increased attention toward the representation of women in media, simply applauding including female characters often leaves out the analysis of what purpose they serve within their narratives. The anxiety over women’s fertility in Blade Runner 2049 (Denis Villeneuve, 2017), Children of Men (Cuaron, 2006), and The Handmaid’s Tale (Bruce Miller, 2017) expresses a crisis in contemporary culture over changing gender roles. Even though these three texts use the antagonists to seek to control over women’s bodies, the narratives themselves still employ infertility as a threat for

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2

Kumbalonah, Abobo. "Mobility and the Representation of African Dystopian Spaces in Film and Literature." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1439460633.

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3

Edgren, Justin. "ANIMATING DYSTOPIA: AN ANALYSIS OF MY ANIMATED FILM, P19." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1099.

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In this paper, I discuss the modern socio-technological state of global social control and its representation in my stop motion animated film P19. I will compare the ways in which social control has changed and remained the same from September 11, 2001 to the present. I will discuss the surveillance and control grids permeating all communication networks and how humans are interacting with them. I will conclude with an analysis of some of my techniques and processes in stop motion animation.

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4

Vieira, Kathleen M. "Past the Darkness." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2652.

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This paper will discuss the making of my thesis film, Past the Darkness. I will describe the entire process including story conception, film production, and post-production stages. I will also evaluate the merits, flaws, and outcome of this project.

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5

McGinney, William Lawrence. "The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.

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6

Duval, Laura K. "The Marked." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2690.

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This paper will detail the making of The Marked, exploring from concept to completion, with special focus on creating a dystopian, science fiction, film with an element of fantasy. I will begin by examining my inspirations. Next, I will explore preproduction, examining screenwriting, casting, location scouting, production, and preparation. Part three will look at production, focusing on directing, production design, cinematography, and on-set operations. Part four will examine post production, including, editing, color correction, sound design, and music. Each element of production will be eva

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7

Bauer, Robert B. "Resisting the Resistance: The Emancipation of Students from the Hidden Curriculum of Commodified Resistant Narratives in Young Adult Dystopian Film Through Open Pedagogical Space and Culture-Jamming." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5621.

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Young Adult Dystopian Film exercises an influence over young people of which they are not aware. As part of a structure of domination these films teach students to participate in their own oppression by the capitalist system. The film industry maintains a hidden curriculum like that utilized in school classrooms to conceal the oppression from the masses. One particularly effective means is the portrayal of resistance against oppression in the narratives of the YA Dystopian Film. Young people are drawn to that narrative and end up supporting the structure of domination financially and ideol

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8

Taschler, Brigitte <1976&gt. "The representation of violence in five dystopian film narratives : myth, catharsis and adaptation in '28 Days Later', '28 Weeks Later', 'Children of Men', 'The Road' and 'V for Vendetta' : five case studies." Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1154.

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La mia tesi si occupa della rappresentazione della violenza in cinque racconti filmici distopici: 28 Days Later (2002), 28 Weeks Later (2007), Children of Men (2006), The Road (2009) e V for Vendetta (2006). La prima parte del lavoro riguarda l’adattamento, cioè le trasformazioni della violenza nel passaggio da un medium a un altro con particolare attenzione ai sistemi semiotici del romanzo, del fumetto e del film. La parte teorica viene illustrata attraverso l’analisi comparata di scene emblematiche prese dalle opere in questione. La seconda parte del lavoro è incentrata sui film come opere a

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9

Akkan, Goksu. "Audiovisual representations of Artificial Intelligence in Dystopian Tech Societies: Scaremongering or Reality? The Cases of Black Mirror (Charlie Brooker, 2011), Ex Machina (Alex Garland, 2017) and Her (Spike Jonze, 2014)." Doctoral thesis, Universitat Ramon Llull, 2021. http://hdl.handle.net/10803/671832.

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La intel·ligència artificial ha estat un concepte que captiva la humanitat des de fa mil·lennis. Des de l'antiguitat, els humans estan obsessionats amb la idea de crear un ésser humà artificial perfecte amb diferents objectius, com ara la companyia o l'ajuda domèstica, i han escrit sobre ells en textos antics de diverses cultures. Això va evolucionar cap a la literatura de protofantasia o protociència-ficció a l’alta edat mitjana. Tanmateix, no va ser fins al segle XIX que la influent obra de Mary Shelley, Frankenstein (1818), va reunir diferents aspectes de la creació artificial de vida human

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10

Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.

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11

Saunders, Victoria M. "Designing Depth: creating dystopia through architecture and film." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265588.

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12

Ljungkvist, Angela. "WAKE UP! : En uppsats om framtiden." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6883.

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<p>Uppsatsen belyser olika händelser som finns beskrivna i tre olika dystopiska filmer från 2000-talet. Uppsatsen jämför händelser i filmerna med historiska och nutida händelser i vårt samhälle. Uppsatsen försöker även visa om filmerna visar trovärdiga framtidsscenarion.</p>

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13

Stjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.

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This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using

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14

Warwick, Harry. "The aesthetics of enclosure : dystopia and dispossession in the 1980s Hollywood science-fiction film." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427159/.

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As an increasing body of historical and economic scholarship attests, the processes Marx placed under the heading of 'primitive accumulation', and which he saw as the precondition of capitalism, continue today in a particularly intense form. If Marx's main example in Capital, Volume 1 (1867) was the enclosure of English land from the late fifteenth century, now scholars can point to the expansion of intellectual property rights, the privatisation of water and other public services, the sale of the US national forests, the imposition of 'structural adjustment programmes', and the war in Afghani

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15

Geef, Dennis [Verfasser]. "Late Capitalism and Its Fictitious Future(s) : The Postmodern, Science Fiction, and the Contemporary Dystopia / Dennis Geef." Bonn : Universitäts- und Landesbibliothek Bonn, 2015. http://d-nb.info/1077265468/34.

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16

Mumme, Lisa Pollock Mumme. "Not things: gender and music in the Mad Max franchise." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/7056.

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This thesis is a study of the gender politics through musical discourse in the Mad Max series. Dystopian narratives are particularly interesting texts for study of gender because they allow for extreme hypothetical situations in worlds that are at once familiar and unfamiliar. Musical discourse in the Mad Max films both supports and complicates dominant readings of gender constructions. I consider the gender politics of the franchise, using Mad Max (1979) and Mad Max: Fury Road (2015) as case studies, and drawing on scholarship on gender in film music, feminist film theory, and Australian car

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17

Swenson, Sean Michael. "Masculinity, After the Apocalypse: Gendered Heroics in Modern Survivalist Cinema." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5136.

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Emerging out of a tradition of dystopic and apocalyptic cinema, the survivalist film has arisen as a new subgenre owing to a collision of several divergent modes of cinema. While the scholarly discourse has been preoccupied largely with the task of setting up the parameters of this new cinematic line little attention has been paid to unraveling what the new modes of masculine performance within the films mean in the post-9/11 moment in which they have emerged. This paper looks at the ways in which the gendered heroics on the screen are indebted to the slasher and zombie subgenres in offering a

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18

Bowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.

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Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis a

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19

Asif, Hazem. "The Mall: A world-building speculation on the future of privacy." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5403.

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This thesis is a science fiction exploration of a future dystopian world where privacy becomes a dominant currency that is distributed according to social class and ranking mechanisms. It utilizes speculative world-building to study the unanticipated implications of technology on personal privacy, surveillance and social inequality on future societies. The project introduces The Mall, as a highly efficient and hyper-connected world, but also exposes its downfall as a society with heightened cultural and socio-political disparities. Inspired by past civilizations, the development of the modern

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20

Rodriguez, Nogueira François. "La société totalitaire dans le récit d'anticipation dystopique, de la première moitié du XXè siècle, et sa représentation au cinéma." Thesis, Nancy 2, 2009. http://www.theses.fr/2009NAN21030/document.

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La tradition utopique a longtemps entretenu le rêve d'une société idéale située dans un ailleurs, un u-- topos, le "lieu qui n'est pas" dans L'Utopie de Thomas More. La représentation de ces utopies est indissociable d'un facteur déterminant pour la construction d'un monde meilleur : le progrès. Ainsi, cette tradition se caractérise par l'accent prométhéen d'une telle entreprise, c'est des mains de l'homme que sera façonnée cette nouvelle société. Cependant, le point de vue sur la possibilité d'une société idéale va progressivement s'infléchir, notamment au cours du XIXe siècle, pour s'invers

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21

Hachtel, Julia. "Die Entwicklung des Genres Antiutopie : Aldous Huxley, Margaret Atwood, Scott McBain und der Film "Das Leben der Anderen" /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3008882&prov=M&dok_var=1&dok_ext=htm.

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22

Burkhart, Diana Q. "Dystopian impulses in contemporary Peninsular literature and film." 2008. http://wwwlib.umi.com/dissertations/fullcit/3362812.

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23

Cheng, I.-Ju, and 鄭亦茹. "A Study of Heroines in Dystopia Science Fiction Films." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/15698762181047042291.

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碩士<br>淡江大學<br>大眾傳播學系碩士班<br>103<br>Science is the element used to develop the story in science fiction films. It is presented as a masculine element. When the element of dystopia is brought to the narrative discourse of a film, science becomes the fountainhead of a negative future in which the idea of words and ideas as superior is destroyed. This study investigates the backgrounds of heroines from such a background, beginning by analyzing their environments. It then investigates the heroines’ status, how it’s affected by gender issues, and finally their interaction in the film’s narrative as v

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24

Ševců, Josef. "Obraz masových médií v dystopických filmech natočených od 70.v let 20. století." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-333461.

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The aim of this thesis is to provide a comprehensive and focused reflection with regard to role of mass media in selected dystopian films, respectively in movies where some significant dystopian elements do appear. This thesis is based on themes that have been the content of bachelor thesis written by the same author and expands on it - however, the bachelor thesis analysed exclusively three novels (Brave New World, 1984 and Fahrenheit 451). Nevertheless this thesis does not include any film adaptation of these novels. Within this work a wider range of resources was employed as it allows highl

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25

McDermott, Joshua. "Terayama Shuji and the Emperor Tomato Ketchup : the children's revolution of 1970." Thesis, 2005. http://hdl.handle.net/10125/11971.

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26

De, Jager Thea Laurette. "The poesis of decay : a painter's response to the dystopian aesthetic." Diss., 2019. http://hdl.handle.net/10500/26241.

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This study focuses on the investigation and deconstruction of the phenomena of the South African dystopian society, as reflected in the novels of Lauren Beukes and films by Neill Blomkamp. The characteristics and signifiers of a uniquely South African dystopian society are established and investigated through a posthuman lens. The theoretical framework of this study is principally concerned with the critical posthuman writings of Rosi Braidotti, Donna Haraway and, to a lesser extent, Cary Wolfe. Feminism and post-colonialism, and their influences on posthuman theory, are applied as the second

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27

Franková, Alžběta. "Seriálová adaptace jako intersémiotický překlad: převod románu M. Atwood The Handmaid's Tale do televizního seriálu." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393622.

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This thesis examines TV series adaptation as a type of intersemiotic translation. Proposing an interdisciplinary approach to adaptations, it combines methods of translation studies, film theory, narratology, and adaptation studies. The thesis analyses the translation of Margaret Atwood's dystopian novel The Handmaid's Tale into the first season of its TV series namesake. While using Katerina Perdikaki's translation/adaptation model, it studies and interprets the shifts that occur during the adaptation process. Applying hypotheses by Linda Hutcheon, it focuses on the film means used in the TV s

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28

Muñoz, Zapata Juan Ignacio. "Le cyberpunk vernaculaire de l’Amérique latine : dystopies, virtualités et résistances." Thèse, 2009. http://hdl.handle.net/1866/3240.

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Héritière de la tradition fantastique borgésienne, imprégnée d’une réalité composée de mythes précolombiens et des résidus industriels de la modernité, et développée à l’ère de la mondialisation, du post-modernisme, des jeux vidéos, du cinéma numérique et d’animation, la tendance cyberpunk latino-américaine est cultivée du Mexique jusqu’en Argentine, en passant par Cuba et d’autres pays souvent méconnus dans le monde de la science-fiction comme le Paraguay et la Bolivie. Pressenti dans les œuvres de certains écrivains canoniques comme Ricardo Piglia, Carmen Boullosa ou Edmundo Paz-Soldán, le c

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29

Méthot, Benoit. "Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés." Thèse, 2008. http://hdl.handle.net/1866/7918.

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30

(11186181), Christina M. McCarter. "HINGED, BOUND, COVERED: THE SIGNIFYING POTENTIAL OF THE MATERIAL CODEX." Thesis, 2021.

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<div> <p>The idea of “the book” overflows with extraneous significance: books are presented as windows, gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and they are a method of escape. The book has long represented much more than a static, hinged, bound, covered object inscribed with words. Even when a book is not performing an elaborate, imaginative function, the word “book” very often signifies the text it holds or even the text’s author: You can open <i>The Bluest Eye</i> or carry Toni Morrison in your bag. Fourteenth-century author Geoffrey Chaucer invokes a “b

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31

(9897353), O. Efthimiou. "Dreaming the posthuman in cyberspace : war of the worlds and the return of the un/real in Tron: Legacy." Thesis, 2012. https://figshare.com/articles/thesis/Dreaming_the_posthuman_in_cyberspace_war_of_the_worlds_and_the_return_of_the_un_real_in_Tron_Legacy/13462319.

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"Digital narratives are emerging as key platforms for the study of the posthuman in the 21st century. In Tron: Legacy the exploration of cyberspace and its miraculous properties as a vacuum for the mythological unconscious reignites the imagination, transporting viewers to a universe without borders. Both film and cyberspace open us up to worlds past, present and future, internal and external, imbuing us with their magic as well as their terror; danger becomes integral to the establishment of digital space as ‘sublime dreaming space’, as we witness the breakdown of dualities and the unearthing

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