Whose Dystopia is this? Role of the Cinematic Dystopias in Forming Corporate Cultures

• Autores: Özüm Ünal
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 807-812
• Idioma: inglés
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• Resumen

  • This paper attempts to discuss the reflection of fears and anxieties of the cultural context in cinematic representationsof dystopian worlds according to the studies of ideology, making reference to two films that depict dystopian worlds:Michael Winterbottom’s Code 46 (2003) and Alfonso Cuarón’s Children of Men (2006). As Chomsky draws attentionto the role of the media in contemporary politics confronting that media “forces us to ask what kind of a world andwhat kind of a society we want to live in, and in particular in what sense of democracy do we want this to be ademocratic society?” (Chomsky, 1997: 3). This paper will examine how media is effective in the roots of corporateculture. The dystopias of the early and mid-20th century were more concerned with totalitarian governments,faceless bureaucracy, surveillance and control issues. While, on the one hand, the paper will focus on the cinematicrepresentation of the theme of dystopia in the specified movies; on the other, it will have occasional references toother literary and cinematic works that are related to or center around the theme. Before embarking on a discussionof the semiotic and structural workings of cinematic dystopia, I consider it inevitable to give a review of literatureof dystopian worlds, in reference to which I will argue about the subject matter. Therefore, in the first part of thepaper, there will be a survey of dystopian worlds and its fundamental characteristics. Then, a thematic and technicalanalysis of the individual films in dystopian paradigm will follow up.