Since the dawn of civilization, art has been influencing people’s minds by addressing important and controversial topics in a fascinating form. As technological progress continued, various audiovisual media have been created, making art available to wider audiences on a regular basis. Today, viewers have access to vast amounts of multimedia content, which magnifies the effect of philosophical ideas embedded in particular works. With the development and widespread of cinematography, the selection of genres has also seen an increase. At the same time, even the most fantastical stories draw inspiration from the tendencies that are observed in real life. In fact, an ability to make projections regarding the future by extrapolating the present tendencies is often viewed as a benchmark of storyteller’s mastery. Within this framework, a range of genres have emerged that speculate with the presently available facts to make such projections. Among them, dystopia is a highly prominent category of fictional storytelling that illustrates dire prospects of the future. In these works, the negative factors are multiplied to outline an exaggerated perspective on the present issues.
The current proposal implies the creation of a review that explores the key features of dystopia as a cinema genre and based on a prominent example of such a film. The main idea is to embed an academic perspective that would extend beyond subjective impressions. For this purpose, it appears relevant to identify the key characteristics of the genre. In other words, there needs to be a certain framework of reference that will be applied to the discussion. For example, such fundamental variables as the setting, plot progression, symbolism, and storytelling elements will be outline with regards to the standard structure of a dystopian plot. This approach will help the readers understand the basic functioning of the genre, along with its rules and tendencies.
As a result, a higher level of objectivity in the review will be attained by incorporating more technical and academic aspects. As a result, the discussion will go beyond the mere dichotomy of a “good” or “bad” film. In fact, it will be an educational experience for readers of all levels. Renowned experts of film studies will be able to appraise the attempt at forming a solid genre framework for universal analysis. Less experienced film enjoyers will find the discussion insightful and become more interested in the subject matter.
The interest to dystopia as a genre for review is justified by the increasing significance of this category of films in today’s cultural space. Cardoso discusses the two sides of a single unity, which is represented by utopian and dystopian variants of storytelling. More specifically, both of these genres are viewed as two elements of one super-genre, which addresses an exaggerated perception of the future (Cardoso 26). In each case, the present situation is extrapolated to make the projections that go to one of the extremes: either an idealistic or a dire one. Today, the dystopian point of view has become more prevalent in the film industry and other forms of art. According to Cardoso, this tendency is influenced by the presence of severe issues in today’s global community (27). People are concerned about authoritative political regimes, warfare escalations, and natural disasters that stem from the humanity’s environmental footprint. Dystopian works describe “what-if” situations that highlight the potential repercussions of inconsiderate actions taken presently (Cardoso 28). While such settings tend to incorporate certain instances of exaggeration, they nurture mindfulness through the illustration of a dire future.
It is important to note that dystopian films do not represent a consistent genre in which all works are done per one specific pattern. In fact, observations suggest that there is a well-defined distinction between standard dystopias and the “young adult” variation of the genre. Today, the second type is becoming more popular, which is illustrated by the increased recognition of such works as The Hunger Games, Divergent, and Maze Runner. These films target younger viewers, translating into varying plot structure and setting characteristics. The educational element is less prevalent in young-adult works, as the dystopia serves as a setting and a plot element that allows other events to unfold. In these films, the emphasis is laid on the dynamics of the plot, character development, and relationships. In classic dystopias, the key element consists of an informed, evidence-based prognosis that projects the present in a dire future.
For the purposes of the proposed review, it is envisaged that the focus will be on the classic variation of dystopian films. This is explained by the fact that the plausibility of the development reflected in the film is one of the most valuable elements of the genre. In a way, this is similar to the genre of science fiction, in which the most respected works rely on a theoretically possible scenario of the future based on the existing scientific progress. The proposed review will provide a succinct description of the classic dystopian genre, defining its key elements within a single framework that can be applied to most works of the kind. Next, the film Children of Men will be subjected to a rigorous analysis that will follow its structure, characters, and – most importantly – the fundamental prognosis at its core. The review is envisaged for multimedia distribution to ensure proper coverage of both experienced researchers and amateur viewers. It is expected that this perspective will make a considerable contribution to the contemporary film studies in the dystopian genre.
Work Cited
Cardoso, L. “From Utopia to Dystopia: Visions of the Future in Literature and Cinema.” International Conference on Literature, Languages, Humanities and Social Sciences (L2HSS-19) June 19-21 2019 Lisbon (Portugal), pp. 26-29.