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Relevant bibliographies by topics / Dystopian films

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Academic literature on the topic 'Dystopian films'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Dystopian films"

1

Shor, Francis. "Guns and Gender Roles in Dystopian Settings." Utopian Studies 33, no. 1 (March 1, 2022): 76–89. http://dx.doi.org/10.5325/utopianstudies.33.1.0076.

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ABSTRACT Dystopian settings are often dominated by fear and despair. As instruments and symbols of fear, guns, especially deployed in gendered ways, reinforce the dystopian setting. This article explores how guns and gender roles are represented in three dystopian novels (The Turner Diaries, The Road, and Parable of the Sower) and three dystopian films (Zardoz, The Terminator, and The Road). Examining how phallocentric aggression and toxic masculinity shape how guns are wielded by a number of characters in several of these films and novels, the article also suggests how critical dystopias offer insights into the conditions that create dystopia and impede alternative and better futures. By providing interpretive interventions into the constructions of the specific dystopian settings and the deployment of guns, the article offers new insights into the interface between gender, guns, and dystopia.

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Muwaffaq, Thafhan, Nurul Komar, and Rio Armandaru. "APOCALYPTIC NARRATIVE SCHEMAS IN DYSTOPIAN FILMS." International Journal of Humanity Studies (IJHS) 3, no. 2 (February 25, 2020): 211–27. http://dx.doi.org/10.24071/ijhs.v3i2.2168.

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This research investigates the way dystopia as film genre is attributed with catastrophe or, what will be regarded here as apocalyptic events. We question the way in which the genre represents state of affairs of humanity in the face of catastrophe, in catastrophe, and after catastrophe. We conducted a narrative analysis under the account of semiotic cognitive approach, by identifying narrated events, and actions of the protagonist as constituting parts of event. We argue that narrative in dystopian films represent three types of apocalyptic schema (i.e. pre-apocalyptic, apocalyptic, and post-apocalyptic). Each schema seems to have distinct model of storyline, regardless of the predefined genre of the film (e.g. adventure, sci-fi, fantasy, etc.). Despite the distinct schemas, the analyzed films illustrate typical tone of hopefulness wherein humanity prevails over catastrophe and dystopian state of affairs. Another typical representation in dystopian films analyzed here is portrayal of collective fear among the protagonist. Our study leads to a point that humanity is portrayed adaptive to catastrophic situations, therefore it is able somehow to survive. Here we offer narrative standard in dystopia genre with the light of cognitive semiotics perspective, which differs to a great degree with theories offered by classical literary studies.

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Khudhair obid, Al-Mamory Yasir, and Yu A. Kreidun. "THE PROBLEM OF VIOLENCE, CRIMINAL DYSTOPIA AND THE DIALECTICS OF (DIS)ORDER IN CONTEMPORARY FILMS." Arts education and science 4, no. 33 (2022): 114–21. http://dx.doi.org/10.36871/hon.202204114.

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The subject of the research is the themes of violence, cruelty, crime and disorder represented in the dystopian films. The theoretical and methodological basis of the scientific search is provided by the fundamental humanitarian principles of anthropocentrism, poly-paradigmatics and interdisciplinarity, which serve as the basis for a comprehensive analysis of the genre and stylistic specificity of dystopia. The comprehensiveness of the obtained results is achieved by applying a number of general scientific and special methods. First of all, the study is based on the use of comparative analysis, methods of generalization and grouping, abstraction, associative mapping, classification. The scientific novelty lies in the formalization of human fears, associated with the inability to order, to civilize them and to make one's live safer. The analysis was carried out on the example of such films as "The Hunger Games", "Divergent", "Particular Opinion", "The Purge", "Mad Max: Fury Road". The article pays special attention to the disclosure of the phenomenon of the dystopian vector in contemporary cinema, which marked a new trend in the cultural sphere. Also, the analysis of filmography examines the different substances of fear. Using concrete examples of criminal dystopias, the meaning behind the demonstration of violence is uncovered. The study finds that a dystopian aesthetic of violence can conceal the failures and antagonisms of the social order in the present, as well as emphasize the anti-utopian fears of the future.

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Nguyen, Phuong Khanh. "DYSTOPIAN THEME IN SOUTH KOREAN LITERATURE AND FILM." UED Journal of Social Sciences, Humanities and Education 11, no. 1 (June 21, 2021): 137–46. http://dx.doi.org/10.47393/jshe.v11i1.944.

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The theme Dystopia began as a response to Utopian theory, which isrelated to perfect communities. A dystopia is an imaginary community or society that is dehumanized and is therefore terrifying with people who are forced to battle for survivalin a ruined environment with technological control and oppression by the governing authority. Dystopian novels or films can challenge readers to think differently about the current social and political contexts, and can even promptpositive actions for the future of human beings. Recently, not only America and Europe but also South Korea has witnessed the increasing release of a range ofdystopian or post-apocalyptic films and novels. These creations reflect the harsh reality of our modern life in which human beings have to confront disasters, pandemics and problems of the modern industrialized society. Though usually set in a future scene, the dystopian theme can function as an open gate, an objection from the present, or as the “archaeology of the Future”. The success of South Korean literature and film on this topic claims the strong rise of SouthKorean wave in the world’s pop culture. It also shows that sci-fi works with dystopian theme can be seen as an anti-social discourse as well as their possibility of merging with the mainstream works.

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Smith, Eric D. "No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest." Utopian Studies 34, no. 3 (November 2023): 380–98. http://dx.doi.org/10.5325/utopianstudies.34.3.0380.

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ABSTRACT This article examines Harold Ramis’s 2005 noir comedy The Ice Harvest as the critically dystopian counter-panel to his beloved 1993 film Groundhog Day, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new millennium. In The Ice Harvest, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia.

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Mutiah, Tuty, Dhefine Armelsa, Faqihar Risyan, and Agung Raharjo. "DISTOPIA KONDISI LIBERALISME DALAM FILM TIGA (Studi Semiotika Roland Barthes Tentang Distopia Liberalisme di Jakarta dalam Film Tiga)." Cakrawala - Jurnal Humaniora 19, no. 2 (September 6, 2019): 225–30. http://dx.doi.org/10.31294/jc.v19i2.5633.

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Dystopia in Film Tiga Liberalism Conditions (Roland Barthes Semiotics Studies about Dystopia on Liberalism in Jakarta in Film Tiga). This study goals is to determine the meaning of dystopian condition of Jakarta in the Film Tiga through the sign, signifier and signified. Three films is a film that adopts Liberal describe the depravity of Jakarta twenty years in the future in 2036. The method used semiotic analysis of Roland 2 Bartes.The object of research is the Film Tiga were directed by Anggy Umbara and classified through five objects dystopia condition of Jakarta, dystopian condition of the state apparatus, dystopia conditions of religion, dystopia technology, and dystopias journalism to find signs and markers and meaning at the level of the first and second, the denotation, connotations and myths.These results indicate that the situation of Jakarta transformed into an increasingly metropolis marked by the increasing number of high-rise buildings, as well as demonstrations marked depicted in 2015 until 2025. In 2026, the revolution ended and became State Liberalism. Changes in the State apparatus are characterized by the wish to dominate the world to create freedom in the face of the earth. One is to get rid of religion, by damaging the face of religion. State Officials do havoc with bring into conflict of the Religion. Changes religion marked by shifting religious values, is marked by religion becomes a thing wrong choice. The lack of freedom is depicted in this film, must be eradicated in order to function in a Liberal to be ideal. Technological changes are interpreted as changes in technology that convey information quickly, as well as the ability to hacked That meaning is characterized by technological devices that undergo changes such as, mobile phones, flash, televisions, doors, computers, laptops and so forth is now transformed into transparent. The changes meant the journalistic agenda setting media that is still happening characterized by lack of freedom of the press.

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Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.

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The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.

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Hantke, Steffen. "From stressed utopias to pervasive anxiety." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 323–39. http://dx.doi.org/10.3828/sfftv.2020.19.

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Three films imagining post-apocalyptic dystopias - Smog (Petersen Germany 1973), Operation Ganymed (Erler Germany 1977) and Die Hamburger Krankheit (Fleischmann Germany 1979) - concretise and dramatise environmental, political and social stresses on the West German national imaginary during the 1970s. Articulating cultural motifs hitherto associated with national success within the conventions of the disaster film, the films would exacerbate cultural stress throughout the decade by gradually uncoupling it from its historically specific sources and rendering it as a diffuse yet inescapable national mood. Taken together and read in sequence, the three films show how dystopian thinking takes hold while its specific causes grow less clear and obvious, expressing fundamental doubts about ‘post-war’ utopian aspirations.

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Matondang, Abdul Rahman, and Sahrul Sahrul. "DYSTOPIAN FILM REPRESENTATION AND END TIMES PROJECTION FROM THE PERSPECTIVE OF AS'ARIYAH AQIDAH." Al-Risalah 14, no. 2 (June 3, 2023): 280–98. http://dx.doi.org/10.34005/alrisalah.v14i2.2597.

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This study aims to analyze the representation of dystopian films and their projections towards the end of time based on the perspective of Yusuf Aqidah As'ariyah. The method used in this study is a qualitative method by using reference searches by analyzing research texts related to dystopian films and understanding of the aqidah as'ariyah about the projection of the end of time. The results of the search were analyzed based on the perspective of As'ariyah's aqidah regarding the main ideas specifically about the future and the end of time. The results of this study indicate that the representation of dystopian films often shows humans struggling to survive in a world full of chaos, but from the perspective of As'ariyah belief, humans must prepare themselves spiritually and do good deeds in order to get a good place in the afterlife.

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Al-Mamori, Yasir Khudeir Obid. "Dystopia, post-apocalypse and cinematic reading." Философия и культура, no. 4 (April 2022): 1–8. http://dx.doi.org/10.7256/2454-0757.2022.4.37808.

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The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end.

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Dissertations / Theses on the topic "Dystopian films"

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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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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 aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.
ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities

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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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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 women. What does the reappearance of mass infertility in our dystopian media tell us about how we value and depict women? These audio-visual texts, set in disturbing futures, attempt to intervene discursively in these political conversations. Their narratives appear critical of hegemony on their surface, but lurking beneath is a return to gender essentialism that defines women through their ability to reproduce.

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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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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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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 a semantic/syntactic approach to film genre it is possible to identify shared conventions. Only by using a co-ordinate semantic/syntactic approach is it possible to fully understand the interaction between conventions within a genre. The result shows that there are conventions that are characteristic for dystopia and dystopia can thus be considered a subgenre. The films analyzed in this essay share conventions characteristic for dystopia but also offer variation in form of, for example, theme. The subgenre dystopia therefore offers something familiar but also variation which is central in film genre. The analysis also shows that there are symbols that carry meaning within these films which implies that they have a common iconography.

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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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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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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 Afghanistan as so many 'new enclosures'-efforts to bring ever greater zones of human activity within the ambit of capitalist production. Yet what remains unexamined in this still-growing literature is how the new enclosures have been represented in the sphere of culture. Have cultural forms been able to register these new expropriations? If so, how have they depicted a process that is pervasive, but whose forms of appearance are so diverse? This thesis endeavours to answer such questions through the analysis of five major Hollywood science-fiction films of the 1980s: Ridley Scott's Alien (1979) and Blade Runner (1982), David Cronenberg's Videodrome (1983), and Paul Verhoeven's RoboCop (1987) and Total Recall (1990). It argues that, taken together, these films develop an 'aesthetic of enclosure': a series of representational strategies that make enclosure visible. Typically understood by scholars as a critical and historicising genre, the science-fiction film is well positioned to detect, examine, and challenge capitalism's renewed efforts to privatise and dispossess.

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Books on the topic "Dystopian films"

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savez, Hrvatski filmski, ed. Budućnost je ovdje Svijet distopijskog filma. Zagreb: Hrvatski filmski savez, 2008.

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Raffaella, Baccolini, and Moylan Tom 1943-, eds. Dark horizons: Science fiction and the dystopian imagination. New York: Routledge, 2003.

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Booker, M. Keith. Dystopian literature: A theory and research guide. Westport, Conn: Greenwood Press, 1994.

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Grubišić, Ana Banić. Filmovi na temu postapokalipse: Antropološki ogledi. Beograd: Univerzitet, Filozofski fakultet, 2018.

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Boller, Alessandra. Dystopia, Science Fiction, Post-Apocalypse: Classics - New Tendencies - Model Interpretations. Trier: WVT Wissenschaftlicher Verlag Trier, 2015.

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Sapet, Kerrily. Suzanne Collins. Greensboro, N.C: Morgan Reynolds Pub., 2012.

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J, Moore David. World gone wild a survivor's guide to post-apocalyptic movies. Atglen, PA: Schiffer Publishing, Ltd., 2014.

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Palardy, Diana Q. The Dystopian Imagination in Contemporary Spanish Literature and Film. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2.

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John, Wagner. Judge Dredd: The complete case files. Oxford: Rebellion, 2010.

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John, Wagner. Judge Dredd: The complete case files. Oxford: Rebellion, 2010.

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Book chapters on the topic "Dystopian films"

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Rickards, Nicholas. "Vanguards on the Starting Line: Race, Work, and Dissent in Sport Dystopian Films from Rollerball to The Hunger Game." In The Palgrave Handbook of Sport, Politics and Harm, 445–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72826-7_22.

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Geal, Robert. "Survivors in post-apocalyptic environmental dystopias." In Ecological Film Theory and Psychoanalysis, 187–203. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-6.

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Brown, Tom. "‘Entertainment and dystopia’: Maurice Chevalier Performs Avec le sourire (1936)." In Film Moments, 78–84. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92455-4_19.

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Fahlenbrach, Kathrin. "Utopia and Dystopia in Science Fiction Films around 1968." In The Global Sixties in Sound and Vision, 83–100. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137375230_6.

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Tan, Cenk. "Relocating Populism and Populist Discourse in Dystopian Film and Fiction." In Encyclopedia of New Populism and Responses in the 21st Century, 1–6. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-16-9859-0_430-1.

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Palardy, Diana Q. "Introduction." In The Dystopian Imagination in Contemporary Spanish Literature and Film, 1–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2_1.

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Palardy, Diana Q. "The Path to Voluntary Confinement: Dystopian Spaces of Consumerism in Ray Loriga’s Tokio ya no nos quiere." In The Dystopian Imagination in Contemporary Spanish Literature and Film, 29–64. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2_2.

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Palardy, Diana Q. "Grafting the Global North onto the Global South: Dystopian Transhumanism in Elia Barceló’s “Mil euros por tu vida”." In The Dystopian Imagination in Contemporary Spanish Literature and Film, 65–107. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2_3.

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Palardy, Diana Q. "The Architecture of Avarice in Ion de Sosa’s Sueñan los androides or How I Learned to Stop Worrying About the Economic Crisis and Love the Sheep." In The Dystopian Imagination in Contemporary Spanish Literature and Film, 109–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2_4.

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Palardy, Diana Q. "Sensescapes of Precarity in El salario del gigante by José Ardillo, Madrid: frontera by David Llorente, and Nos mienten by Eduardo Vaquerizo." In The Dystopian Imagination in Contemporary Spanish Literature and Film, 149–81. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92885-2_5.

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Conference papers on the topic "Dystopian films"

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Grzeszczuk-Brende, Hanna. "Expressionist utopia and dystopia (architecture, literature, film)." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-38.

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