Abstract:

The “world” and “worldliness” are central concepts of 20th century philosophy. These concepts were conceived together with the notion of the “life world” and were given depth especially through the interpretations of the phenomenological approach. According to this approach, the world is ontologically distinct from the physical realm defined as the earth, nature or external reality; it exists and is comprehended through a joint functioning of the intentionality of consciousness and the givenness of the object. In this sense, the human world, as a phenomenal realm, is a multilayered, historical, spiritual, and dynamic space exclusive to the human species. However, dystopias create alternative world designs through art by looking at the actual world. These new “worlds” show different ways of living with regard to socio-economic, ethical, normative morality, technology, faith, etc. On the one hand, they allow us to understand the fictional aspects of the world we live in, and on the other hand, they offer alternative life proposals. These proposals often take the form of criticisms of the status quo. This article attempts to contextualise the structural categories that can be used to analyse fictionally constructed world designs through dystopias. Thus, it aims to facilitate a structural understanding of the problems of coherence, plausibility, realism and anachronism in dystopias found in various genres and subgenres of cinema.

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