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Imagining Race and Neoliberalism in Young Adult Dystopian Cinema

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Imagining Race and Neoliberalism in Young Adult Dystopian Cinema IMAGINING RACE AND NEOLIBERALISM IN YOUNG ADULT DYSTOPIAN CINEMA NICHOLAS G. RICKARDS Bachelor of Arts, University of Lethbridge, 2018 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge In Partial Fulfillment of the Requirements for Degree MASTER OF ARTS Department of Kinesiology and Physical Education University of Lethbridge LETHBRIDGE, ALBERTA, CANADA Nicholas G. Rickards, 2018 IMAGINING RACE AND NEOLIBERALISM IN YOUNG ADULT DYSTOPIAN CINEMA NICHOLAS RICKARDS Date of Defence: May 24, 2018 Dr. S. Brayton Associate Professor PhD Co-Supervisor Dr. M. Helstein Associate Dean PhD Co-Supervisor Dr. K. Granzow Associate Professor PhD Thesis Examination Committee Member Dr. P. Wilson Associate Professor PhD Thesis Examination Committee Member Dr. Jon Doan Associate Professor PhD Chair, Thesis Examination Committee Abstract The second decade of the 21st century saw a unique surge of young adult dystopian media from Hollywood and other popular entertainment industries. Trending after the release of The Hunger Games, the genre would continue to produce film and television series towards the turn of the decade. This thesis explores the intersection of politics, film, and television, and examines how young adult dystopian media transcoded tumultuous discourse of race, colonialism, capitalism, and neoliberalism which were circulating at the time. By reading three popular media texts, The Hunger Games, The Maze Runner: The Scorch Trials, and the television series The 100, I suggest that these cultural artifacts, and the young adult dystopian genre as a whole, provides a spaces for exploring issues of concern in our own society by projecting them on the landscape of a dystopian future. iii Acknowledgements To my imaginative, creative, quirky, and brilliant supervisors, Dr. Sean Brayton and Dr. Michelle Helstein: words will never be able to express the respect, admiration and love that I have for the both of you. My time working under your guidance has been the most impactful and memorable experience I may ever have. Your investment in this project and the degree in which you have challenged me has forced me to grow in ways beyond my wildest dreams. Not only did your mentorship and feedback take my work in directions I would never have imagined, but you both have also changed the course of my life. Thank you to my committee members, Dr. Kara Granzow and Dr. Patrick Wilson. Patrick, although you may not recall my meek undergraduate demeanour, my short time as a student in your class was very impactful to both this project and my growth as an academic. Kara, you had a pivotal role in setting the foundations for me to pursue this project with academic integrity and creativity. I hope you both enjoy it! I must also give a quick shout out to Paul, who shared many coffee and dinner dates with me, critiquing my work throughout the entire process and providing lively discussion. I think of you often, mate. A section just for you, Mom! Thank you for your undying loyalty and support. I know this whole experience was a bit alien to you, but the understanding and reassurance that you provided me kept me steadfast. Love you to the moon and back. Finally, I would like to thank my “rock”, Kristen. I often say that I would not have been able to do this without you (or Lexi). I am sure you would agree. Who knew being with a graduate student would be so labour intensive? This, Kristen, is for you. iv Table of Contents Title Page ………………………………………………………………………………… i Approval Signature Page ………………………………………………………………... ii Abstract …………………………………………………………………………………. iii Acknowledgements……………………………………………………………………… iv Table of Contents………………………………………………………………………… v Chapter 1: Introduction…....…………………………………………………………... 1 Literature Review………………………………………………………………………… 3 Theoretical Framework…………………………………………………………………... 9 Methodology …………………………………………………………………………… 15 Methods…………………………………………………………………………………. 19 Format…………………………………………………………………………………... 21 Chapter 2: New Places, New Races: Mapping Racial Formation and Neocolonialism in CW’s The 100…...…………………………………………………………………... 26 Introduction……………………………………………………………………………... 26 Background……………………………………………………………………………... 27 Narrative Summary……………………………………………………………………... 35 A Neocolonial Dystopia………………………………………………………………… 38 Almost Racial…………………………………………………………………………… 51 Tropes of Empire…………………………………………….…………………………. 61 Conclusion……………………………………………………………………………… 67 Chapter 3: WCKD Politics and Consuming Cranks: Finding Capitalism and Neoliberal Terror in The Maze Runner……………………………………..……..…. 70 Introduction……………………………………………………………………………... 70 Background……………………………………………………………………………... 74 Narrative Summary……………………………………………………………………... 81 Working Like Crazy……………………………………………………………………. 85 Capitalist Munchers………………………………………………………………...…... 92 State and Political Economy……………………………………………………………. 98 Conclusion……………………………………………………………………………...107 Chapter 4: Colour Blind and Still Hungry: White Liberalism and Labour Politics in The Hunger Games...…………………………………………………………………. 109 Introduction……………………………………………………………………………. 109 Background……………………………………………………………………………. 113 Theory, Method, and Approach……………………………………………………….. 117 Narrative Summary……………………………………………………………………. 123 A Tribute to White Liberal Utopia…………………………………………………….. 126 Strategizing Whiteness: “. I see her in my sister, Prim” ……………………….........132 When (White) Trash Burns……………………………………………………………. 142 Conclusions……………………………………………………………………………. 153 v Chapter 5: Conclusion ……………………………………………………….…….... 156 Welcome to Dystopia………………………………………………………………….. 156 Reflexivity …………………………………………………………………………….. 167 Limitations…………………………………………………………………………….. 167 Contributions and Future Research .…………………………………………………... 168 References…………………………………………....................................................... 175 vi Chapter One: Introduction YA Dystopian Cinema In 2012, Lions Gate Entertainment released the screen adaptation for the first installment of Suzanne Collins’ The Hunger Games book trilogy, which became an instant success. Directed by Gary Ross, The Hunger Games (2012) film banked a whopping $691.2 million worldwide (IMDB, 2017) and served as a watershed moment for the film industry that opened the floodgates to Hollywood for the next big cinematic craze - young adult (YA) dystopian cinema. Dovetailing the success of The Hunger Games, a cascade of YA dystopia would emerge as some of the most popular tent-pole entertainment to be released in recent years. The Hunger Games would go on to produce three more sequels; Catching Fire (2013), Mockingjay Part 1 (2014) and Mockingjay Part 2 (2015). Similar to The Hunger Games novels, Veronica Roth’s Divergent trilogy has been adopted into the Divergent Series franchise spurring three films: Divergent (2014), Insurgent (2015) and Allegiant (2016). Straying slightly from formulaic production, The Maze Runner franchise – the only series to feature a male, albeit still a white lead – has also seen commercial and financial success with two films currently released and a third well under production; The Maze Runner (2014), Scorch Trials (2015) and The Death Cure (2018). The genre has also found success with standalone films like City of Ember (2008), Never Let Me Go (2010), Enders Game (2013), The Host (2013), The Giver (2014), The 5th Wave (2016) and the popular television series The 100 (2014-present). Although these cultural artifacts vary slightly from one to another, they all have basic themes, motifs, and plot points that find young people wrestling with authoritarianism, military state apparatus, environmental collapse, alien colonization, and 1 harsh, unsavory social organization. Perhaps YA dystopia’s most defining characteristic is that it features children under the age of 18 in a post-apocalyptic world that slightly resembles the one in which we are currently living. Functioning as a “warning sign” for where we may be headed, in these dystopian futures, young people are represented as being vanguards of seismic political and social revolutions. For example, in Divergent, 16-year-old Tris Prior (Shailene Woodley) is identified as being ‘divergent’ and leads a charge to challenge and upend the faction system, which permanently places citizens within a social and political hierarchy. In The Giver, Jonas (Brenton Thwaites) begins to dismantle the oppressive uniformity imposed on citizens by the state. In The Host, Melanie (Saoirse Ronan) embarks on a mission to end colonial oppression from body-snatching aliens. For the most part, these films are routinely celebrated as offering a platform which collectively expresses the plight of young people and which offers a blueprint for acts of political resistance (surely it is no coincidence that these films found incredible popularity in the aftermath of the 2008 financial crisis, the Occupy movement, and during a time when the U.S. government’s Orwellian surveillance-apparatus became the new cultural norm). However, this thesis does not see popular YA dystopian films, and the discourse inscribed in them, as a new or completely unique cultural phenomenon. Of course, several YA dystopian films borrow from seminal literary and cinematic texts which preceded them. For example, where the grotesque imagery of young people killing each other can be traced back to Lord of the Flies, fears of a hyper-authoritarian-surveillance dystopian state can be found in Orwell’s 1984. The subject matter of this thesis was chosen due to the popularity of the genre, 2 and because it was so often
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