Wars, climate change, pandemics, social divisions, the rise of right-wing parties. Our world currently seems to be moving closer to dystopian scenarios that we are more familiar with from entertainment media. Three years ago, when I wrote my thesis on dystopias, all of this was already underway, which is why I wanted to not only examine the nature and background of apocalyptic and dystopian scenarios, but also the question of what opportunities and obligations this creates for film and fiction.
In around 150 pages, I explored the correlations between fiction and reality, focusing primarily on the history and development of society, design, architecture and innovation. This essay is based on excerpts from my theoretical work, accompanied by images from my corresponding draft. Here I would like to limit myself to society, culture and the design of dystopian future scenarios, and to the role of the film industry. I would be happy to send the work to anyone who is interested in the full scope.

The pleasure in suffering and the fascination of the dark

The popularity of dystopias and other negatively charged genres reveals a kind of hunger for cruelty and aggression, a “lust for suffering.” The psychologists Lermer and Fischer discuss this phenomenon and its causes in detail in their book The Unease in Peace, which served as the basis for most of my thoughts on it.
One factor is the need for stimulation and escape from boredom by seeking entertainment in the suffering of others. Even in ancient times, cruel public games were used to satisfy the people and avoid unrest, and public executions were also very popular in the Middle Ages.
Another factor is the emotional kick that people experience when their body rewards them with the release of dopamine, adrenaline and norepinephrine after successfully completing risky behaviour. This is evolutionarily programmed so that we take risks in order to try out potentially better courses of action. The increasing level of security at which we live makes us look for (perceived) risk as compensation. We satisfy this need, for example, in the form of dangerous recreational sports, by playing first-person shooters or by consuming dark, dramatically charged films.
There are also theories about so-called social downward comparison, which say that people feel better when they see the suffering of others. We compare ourselves downwards, on the one hand to be able to bear our own suffering better, and on the other hand to increase our self-esteem. Sick people compare themselves with those who are even more seriously ill, poor people with those who are even poorer. "How good I am in comparison" is the more or less conscious reaction that goes through our heads and thus increases our well-being.

Most dystopian films show a dark world full of shadows. Desolation, pollution or darkness often dominate the image. Imperfection - that is, human errors and abysses and, in their translation, shadows and dirt - makes fiction seem real and true to life and thus captivates the audience. Curiosity and fear create an intense combination of emotions that captivates people and has a lasting impact. It moves you to literally or figuratively immerse yourself in the darkness and, as a result, triggers the feeling of elation that comes from the satisfaction of curiosity, the relief and the pride of having overcome fear.

Building dystopian worlds: developing from the problem

Dystopias are the kind of film worlds that are strongly based on the real world and current developments. Starting from a basic problem that is currently being discussed, they show a pessimistic version of a usually exaggerated, over-the-top, but possible future.
With regard to the connection between the plot and its location in a fictional world, two approaches can be distinguished:
In the first, the story emerges from the peculiarities of the fictional world - or, to put it the other way around: the design of the world is based on the same theme as the plot. An example of this would be Emmerich's disaster film 2012 (2019). The theme of the film is the end of the world in the form of natural disasters, the effects of which form the basis of the world building and the plot. Other examples are MINORITY REPORT (2002), THE HUNGER GAMES (2012-2015), WATERWORLD (1995), THE DAY AFTER TOMORROW (2004) and CHILDREN OF MEN (2006).
In the second approach, the story is largely independent of the world in which it is set. That is, it is rooted, for example, in figures (constellations) or a “world-independent” event. A particularly beautiful example is WALL-E (2008), whose world is the result of environmental pollution and human stultification, while the plot mainly revolves around a touching love story between two robots.
The majority of dystopian films fall into the first category. Some cannot be clearly assigned to one form or the other. For example, the initial problem may be world-independent, while the development of the plot is influenced by world-dependent factors. In addition, the world and/or action is usually not determined by just one factor, but by the interaction of many different factors. There is usually a central factor that is the starting point of the plot and, accompanied by various other factors, forms the basis for shaping the world.

Effect on mood and look

The changed society of the dystopian world is largely driven by the visual concept. There are two fundamentally different approaches that are particularly typical in this genre in terms of look and atmosphere. Analogous to moral decay, there is often visual decay, made visible through abandoned, neglected, destroyed or dirty architecture and furnishings. Examples include BLADE RUNNER (1982), CHILDREN OF MEN (2006), I AM LEGEND (2007) and ZOMBIELAND (2009).
Just as often, an opposite concept can be seen, in which an unnaturally clean, cold and clear environment supports the plot by highlighting the dehumanization being discussed. Well-known examples of this are EQUILIBRIUM (2002), ALPHAVILLE (1965) and THX 1138 (1971).
Since the mood and the entire plot of a dystopia are determined by the rules, location and boundaries of the fictional world, and this is largely conveyed by the set and costume design, the interaction of visual and content-related storytelling plays an enormously important role. For a coherent, convincing and impressive overall work, at least the set design should be integrated into the worldbuilding stage, ideally before plot details are developed.

Reduction of deviations from the familiar

If you try to look as realistically as possible into the future, the picture that emerges is most likely not simply a version of our world in which only two or three wheels were turned. All areas of life are evolving. Climatic, social, technical and many other developments are constantly taking place and can have a more or less serious impact on our future. However, it makes sense that those who design dystopian worlds usually limit themselves to a few changes to the known world so that the audience can continue to identify with this fictional world. The function as a warning utopia can also be fulfilled much better by an approachable world because the message can be understood more clearly. An example: In THE DAY AFTER TOMORROW (2004), only advanced climate change distinguishes the film world from ours. The message is clear: “If we continue like this, such catastrophes could result.” If the future depicted there had been made more futuristic with new forms of mobility, 3D printed superfood or VR contact lenses, this message would have been watered down. It is precisely the close relationship to a familiar world that moves the audience and ensures more credibility - even if this does not represent the most realistic picture of the future. When limiting it to a few factors, it is important that they are tailored to the desired message and coordinated across departments. Costume and production design have the potential to tell more about a world than the plot itself; At the same time, this carries the risk of distracting from the actual focus. So it's a fine line with many fundamental decisions that need to be considered and communicated early and carefully.

Impact and responsibility of the entertainment industry

A future culture, i.e. dealing with the future, its opportunities and dangers, reaches many people mainly through the entertainment industry. Entertainment media can therefore be viewed as a tool to impart knowledge, stimulate debate or point out problems that are neglected or given little attention in school education or the press. In contrast to conventional information media, film and television in particular can appeal to their audience on an emotional level. Fiction offers the opportunity to experience future possible catastrophes from a participant's perspective, opening up a view of the psychology of the catastrophe, of social and personal consequences, in a way that a scientific scenario does not allow. At the same time, a narrative located in the future allows us to look back on our present from a summarizing, critical standpoint. It is less about the accuracy of forecasts than about anticipating problem issues and demonstrating ignorance about possible dangers and risks.
This brings with it a responsibility in research, innovation and storytelling. Emotionalizing a topic can arouse interest, stoke fear or even encourage courage. Therefore, if the story aims to warn of dangers, it must be done in a responsible, realistic way - ideally in collaboration with science, with the help of extensive research and taking into account the impact on the audience beyond the own narrative.

© 2023 Text AND PICTURES BY Caroline Tao Niang Schonert