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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)
РЕКОМЕНДОВАНО К ЗАЩИТЕ В ГЭК

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
ТНЕ HEIRS OF ТНЕ EARTH: INTERGENERATIONAL CONFLICT IN CLIMAТЕ FICTION FILMS OF NEOLIBERAL AGE / НАСЛЕДНИКИ ЗЕМЛИ: АНАЛИЗ МЕЖПОКОЛЕНЧЕСКОГО КОНФЛИКТА В ФИЛЬМАХ О КЛИМАТЕ В ЭПОХУ НЕОЛИБЕРАЛИЗМА

42.03.05 Медиакоммуникации Профиль «Кино и медиа»

Тюмень 2023

MINISTRY OF SCIENCE AND HIGHER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSIТY OF TYUМEN» SCHOOL OF ADVANCED STUDIES

UNDERGRADUATE THESIS
ТНЕ HEIRS OF ТНЕ EARTH: INTERGENERA TIONAL CONFLICT IN CLIMAТЕ FICTION FILMS OF NEOLIBERAL AGE / НАСЛЕДНИКИ ЗЕМЛИ: АНАЛИЗ МЕЖПОКОЛЕНЧЕСКОГО КОНФЛИКТА В ФИЛЬМАХ О КЛИМАТЕ В ЭПОХУ НЕОЛИБЕРАЛИЗМА

42.03.05 Media Communication Major «Film and Media Studies»

Tyumen 2023

DECLARATION OF ORIGINALITY
By submitting this research project, I hereby certify that: I am its sole author and that any ideas, techniques, quotations, or any other material from the work of other people included in my research project, published or otherwise, are fully acknowledged in accordance with the standard referencing practices of my major; and that no third-party proofreading, editing, or translating services have been used in its completion.
Christina Evseyeva
WORD COUNT: 8250

TABLE OF CONTENTS
ABSTRACT 5
INTRODUCTION 6
CHAPTER 1. LITERATURE REVIEW 11
CHAPTER 2. RESEARCH METHODOLOGY 12
CHAPTER 3. THE DEVELOPMENT OF CLIMATE FICTION GENRE 15
CHAPTER 4. INTERGENERATIONAL CONFLICT IN MEDIA 20
CHAPTER 5. THE (IN)EQUALITY IN THE EYES OF THE CATASTROPHE…25
CONCLUSION 29
BIBLIOGRAPHY 30
FILMOGRAPHY 34

ABSTRACT
This research paper examines the transformation of climate fiction films as a part of science fiction genre that has not been much discussed yet. Since its emergence, science fiction films depict current reflection of political, economic, and, recently, environmental issues and social concerns and imaginations about it as the response to these crises. This thesis particularly focuses on contemporary cli-fi films and the way these films often make a shift toward the involvement of intergenerational unfairness in recourse distribution and possible future damage, which older generations create. These various crises are mainly worsened by neoliberal strategies, which cause social stratification, destructions of both natural and anthropogenic habitats. Thus, the main goal of this paper is to look at the transformation of climate fiction genre through recent decades and explain the intergenerational issue implemented in genre narrative from historical, sociological, economic, and environmental points of view. For the analysis, this paper focuses on three films: Children of Men (directed by Alfonso Cuaron, 2006), Snowpiercer (directed by Bong Joon-ho, 2013), and Interstellar (directed by Christopher Nolan, 2014).

INTRODUCTION
Climate change is not an abstract term of the projected future and it will make a crucial impact on everyday life in the future. It is already here. The issue of environmental changes is a highly discussed topic which has become one of the most distinctive traits of our age. Often these changes are shown in the sense of ethical or intangible losses. According to Sixth Assessment Report, IPCC (Intergovernmental Panel on Climate Change) concludes that on the increased measure of heat, that has been seen for the last several decades, is responsible for most of the disasters of that period. In addition, IPCC names the anthropogenetic influence as the main cause of these disasters and calls them as “extremely unlikely to occur” without human-caused effect [In-depth Q&A: The IPCC’s Sixth Assessment Report …].
Nevertheless, the consequences of disasters are always the same and are divided into two groups. Daisy Dunne et al. describe both groups well in their article. The first group is “[t]he loss of human lives in extreme weather events” [Q&A: Should Developed Nations Pay …?]. Daisy Dunne et al. name catastrophes and human death which were caused with these disasters as “the most visceral example of
«loss and damage», a term used to describe how people–particularly the poor and vulnerable–are already reeling from the impacts of human-caused climate change, which is predominantly driven by the emissions of a wealthy minority” [Q&A: Should Developed Nations Pay …?]. Therefore, it seems that human lives must be put at the center of the discussion, and the humanity must try to stop the climate change to stop the extinction of the most vulnerable societies. However, these facts transit the discussion from Anthropocene and climate to the deeper understanding of the ecosystem, its values, and habits and reminds to the second group of loss and damage.
Neoliberal capitalist societies usually exert more influence on the worldwide interconnection within the environmental discourse unlike undeveloped countries. Therefore, the agreement with Fisher’s claim about the commodification of healthcare, education, and environmental issues can be found here [Fisher, p. 17-18]. The problem of the penetration of commodity relationships in all spheres of life is also raised by Lauren Berlant in her article “Slow Death (Sovereignty, Obesity, Lateral Agency)” [Berlant, p. 754-780], where she claims that neoliberal and capitalist habits lead to health problems, particularly obesity. The commodification of an individual as a tendency leads to social stratification. Hence, in the end, the financial aspect is the most influential one because the fight with consequences of Anthropocene intervention in the nature and prevention of new issues are extremely expensive goals.
Millions of dollars are spent on solving ecological crises. The European Union puts the achievement of the status of the first climate-neutral continent by 2050 as one of its long-term goals [European Commission]. To do so, “[t]he European Commission adopted a set of proposals to make the EU's climate, energy, transport and taxation policies fit for reducing net greenhouse gas emissions by at least 55% by 2030” [European Commission]. Thus, the climate fix actions are not only directed toward the decrease of the consequences of the Anthropocene intervention into the ecosystem but include complex attitude with changes in policies, laws, and economics. In this regard, it is important to highlight that not only Commission of various countries or their Unions make effort and contribute to environmental problems solutions, but even younger generations understand its existence and possible consequences. The Guardian posted an article about German ruling who concluded that the young generations’ basic right for the human future is not protected enough by current climate laws. In order to ensure protection of this basic right, German ruling forced to strengthen the laws, which regulate the climate sphere, as soon as these laws at their nowadays state have too long-term plans for the climate change reduction and do not guarantee the ecological crisis solution for people who live now [Connolly, 2021].
However, the problem of developed countries’ participation in the financial support of less developed countries in order to bring the fairness into the problem of loss and damage still an important issue in the discussion which take place every year. While environmental scholars and political groups focus on the division of victims and guilty in the sense of economics and politics, another concept of fairness is introduced by Stephen M. Gardiner. His concept of “generational fairness” concludes the abrupt climate change approach can lead to the intergenerational arms race because a lot of contemporary problems are left to future generations [Gardiner, p.140-162]. Thus, the rare shift in the observation of the problem from the angle of future generations or even contemporary living children makes the gap in various fields, including films and media studies.
Hence of these factors, in common and widely used stratification in terms of economics, researches have started to work in the new dimension. Stereotypes, such as political and economic superiority of previous and current older generations, and, simultaneously, their inability to provide the sustainable present and future conditions for life, and unfairness of the distribution of resources and opportunities cause the intergenerational conflict which has become an object of discussion in sociology, economics, politics, and climate studies. Ben Little claims that neoliberalism and its effects produce new generational politics. Young generation has a fragile position when there is not sustainability in their future: good education and job do not guarantee the high level of income and good life conditions [Little, p. 27-40]. At the same time, Robert H. Binstock points out the conflict from another side: mass media states the stereotypical consideration of the power of elder generations in politics when, in fact, the government and other influencers lobby for the cut of the budget for a healthcare program which supports these elder generations [Binstock, p. 574– 585]. Thus, the media has a dual position about the power that each generation has.
The uncertainty in the discourse about intergenerational conflict in media also is represented in films of various genres. Eric R. Williams claims that contemporary social concerns are usually represented in the science fiction genre [Williams, p.56] as a reflection on the current issues and possible future outcomes. This paper delves into how science fiction films have adapted to address the political, economic, and social challenges related to environmental crises. The author argues that a multitude of factors have influenced the evolution of the genre, leading to a shift towards climate fiction as a subgenre. Furthermore, the ongoing discourse on environmental and political issues has given rise to climate fiction as a distinct genre, with a particular focus on engaging younger generations in the environmental issues and their solving.
More specifically, the emergence of subgenres within science fiction films signifies an increased awareness of various societal concerns. Science fiction no longer revolves solely around technological determinism, anthropocentric problems with climate or human biology, or the fear of aliens as the metaphors of wars, migrations, or colonial relationships. These factors have given way to the emergence of new subgenres that represent specific societal issues. Examples include time travel, alien invasion, cyberpunk, and many others. While cli-fi films predominantly focus on environmental issues, they also address social, political, and economic problems at a meta-level. The narrative of climate fiction films reflects and illustrates everyday problems. This is because climate fiction as a genre is now global, just like the discourse on climate change, which has affected many people worldwide. As a result, climate fiction films have become a powerful tool for raising awareness about environmental crises and their societal impact. My thesis argues that these climate changes and intergenerational conflict, which were caused by political and economic crises of the past several decades, in sum, have thematically inflected the genre of science fiction and gave premises to the emergence of the climate fiction subgenre and, then, as a separated genre.
Climate fiction films started to get more popular in the fifties of the twentieth century. Films, connected with the environmental crisis and fragility of the future because of the Cold war and the threat of nuclear war with the Soviet Union, were released as the imagination of the worst possible scenario. The films The Day the Earth Caught Fire (directed by Val Guest, 1961) was released in 1961 at the height of the Cold war and world fear of the nuclear war. The film has become a classical apocalyptic film where the consequences of the climate change were caused by the anthropogenetic usage of the atomic bombs. The film Soylent Green (directed by Richard Fleischer, 1973) was released in 1973 as the representation of concerns of social stratification and the commodification of an individual: the economic, political, and social systems cannot guarantee the safety; instead, they can use people of poorer classes only as resources for wealthy ones. After Earth (directed by M. Night Shyamalan, 2013) and Vesper (directed by Kristina Buozyte and Bruno Samper, 2022), show the post-apocalyptic world where youngsters have to take care of their disabled parents, facing with the difficulties dictated by the world which wants to kill them. In case of After Earth, it is a survival film about the growing up and becoming “a man” who can take the responsibility for one’s own and others. Vesper depicts the critique of capitalist and neoliberal society, where the usual social stratification based on the lack of the resources. However, the poor part of the society still has highly developed technologies and knowledge.
Technologically determined solutions of environmental issues, which usually depicted in science fiction films, often do not focus on the social development and changes of attitude to the climate problems. However, contemporary science fiction (climate fiction) films more often focus on social stratification which were caused by inequality, difference in technological development. In addition, these films started to raise the problem of the children’s/ young adults’ place within the issue, its solution, and the new world.
Drawing a comparison with the traditional character of the genre, in my thesis, I will examine transformations that the genre of the climate fiction has undergone in the age of neoliberalism and its impact on various crises. Despite that my analysis will focus on three representative case studies, Snowpiercer, Interstellar, and Children of Men, the paper will put the discussion of these films in conversation with a wider and diverse array of films. It is important to mention that this work will consider films from different cultures. It serves to helps to see the genre in its global dimension and, therefore, understand the diverse contexts, narratives, and approaches to a representation of the social reality.

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