Keywords
Dystopian Cinema, Media manipulation, Corporate hegemony, Televised violence, Commodification of human life
Abstract
Dystopian films often reflect society’s fears about corporate control, media manipulation, and the exploitation of violence as entertainment. This research paper examines the intersection of corporate dominance, media manipulation, and state-sanctioned violence in dystopian cinema through Rollerball (1975) and The Running Man (1987). Both films depict societies where multinational corporations wield absolute power, controlling not only economic and political structures but also public perception through brutal, televised competitions. These spectacles serve a dual purpose: they pacify the masses with violent entertainment while reinforcing authoritarian control by eliminating dissenters under the guise of sport. Through a comparative analysis, this paper explores key themes such as the commodification of human life, the erosion of personal freedoms, and the role of mass media as an instrument of oppression. Drawing on theories of dystopian literature, media studies, and corporate authoritarianism, this study argues that Rollerball and The Running Man serve as prescient critiques of late-stage capitalism, warning against the dangers of corporate-controlled societies where entertainment becomes a tool for subjugation. By contextualizing these films within contemporary debates on media ethics, corporate influence, and the growing spectacle of violence in entertainment, this research underscores their continued relevance in understanding the mechanisms of power and control in modern society.
