| This dissertation explores the connection between sustainability and dominant images of the future in contemporary film. The research uses an ecofeminist visual interdisciplinary methodology to investigate the importance of vision/images of the future in guiding the creation of ecologically sound and socially just futures, and how films, as a source of dominant imagery, may be interfering with our ability to envision positive futures as well as provide opportunities for positive visions. The research is in two parts: (1) a visual studies analysis of contemporary films based on critical futures studies (Causal Layered Analysis) ecofeminism, and (2) and interviews with filmmakers. The visual analysis explores and problematises patterns of images of the future in film, especially those of natural landscapes, animals, plants, human settlements, food, and water as well as racial and gender roles within human society. The interview data documents the filmmakers' experiences within film industry and their commentary on the filmmaking process and practices. The research participants' words also inform the exploration of opportunities for the transformation of the filmmaking industry. Filmmaking is theorised as a technology, based on Ursula Franklin's interdisciplinary work on technology as systems of practice, and Albert Borgmann's philosophy of technology.;This dissertation argues that we need visions of sustainable, diverse, and socially just futures to inspire and guide our actions in the present, and that films can contribute to positive imagery. The research explores barriers to envisioning sustainable futures, such as dystopic Hollywood film images and scientific/environmental professional and scholarly practices that discourage visioning work. As well as exploring why it is important that societies have visions of ecologically and socially just futures, and how the filmmaking industry can be part of the sustainability revolution. |
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