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Les Contes de Jean de la Fontaine 1980, Dir. José Bénazéraf (plays a nun) Les Contes galants de Jean de la Fontaine alternative title for Les Contes de Jean de la Fontaine (plays a nun) Les Contes galants de La Fontaine alternative title for Les Contes de Jean de la Fontaine DVD available (plays a nun) Désirs sous les Tropiques 1979, Dir. Francis Leroi Notes available Suppliers listed (plays Axelle) Photo Scandal alternative title for Photos scandale Notes available
Photos scandale 1978, Dir. Jean-Claude Roy as Patrick Aubin Notes available Sesso buffo alternative title for Les Contes de Jean de la Fontaine (plays a nun) Tropische Nächte alternative title for Désirs sous les Tropiques DVD available Notes available Suppliers listed (plays Axelle)

Fictional dystopias are commonly urban and frequently isolate their characters from all contact with the natural world.[35] Sometimes they require their characters to avoid nature, as when walks are regarded as dangerously anti-social in Ray Bradbury's Fahrenheit 451, as well as within Bradbury's short story "The Pedestrian".[citation needed] In C. S. Lewis's That Hideous Strength, science coordinated by government is directed toward the control of nature and the elimination of natural human instincts. In Brave New World, the lower class is conditioned to be afraid of nature but also to visit the countryside and consume transport and games to promote economic activity.[36] Lois Lowry's "The Giver" shows a society where technology and the desire to create a utopia has led humanity to enforce climate control on the environment, as well as to eliminate many undomesticated species and to provide psychological and pharmaceutical repellent against human instincts. E. M. Forster's "The Machine Stops" depicts a highly changed global environment which forces people to live underground due to an atmospheric contamination.[37] As Angel Galdon-Rodriguez points out, this sort of isolation caused by external toxic hazard is later used by Hugh Howey in his series of dystopias of the Silo Series.[38] Excessive pollution that destroys nature is common in many dystopian films, such as The Matrix, RoboCop, WALL-E, and Soylent Green. A few "green" fictional dystopias do exist, such as in Michael Carson's short story "The Punishment of Luxury", and Russell Hoban's Riddley Walker. The latter is set in the aftermath of nuclear war, "a post-nuclear holocaust Kent, where technology has reduced to the level of the Iron Age".[39][citation needed] Science and technology Contrary to the technologically utopian claims, which view technology as a beneficial addition to all aspects of humanity, technological dystopia concerns itself with and focuses largely (but not always) on the negative effects caused by new technology.[40] Typical dystopian claims 1. Technologies reflect and encourage the worst aspects of human nature.[40] Jaron Lanier, a digital pioneer, has become a technological dystopian. "I think it’s a way of interpreting technology in which people forgot taking responsibility", he says. “'Oh, it’s the computer that did it, not me.' 'There’s no more middle class? Oh, it’s not me. The computer did it'” (Lanier). This quote explains that people begin to not only blame the technology for the changes in lifestyle but also believe that technology is an omnipotence. It also points to a technological determinist perspective in terms of reification.[41] 2. Technologies harm our interpersonal communication, relationships, and communities.[42] decrease in communication within family members and friend groups due to increased time in technology use virtual space misleadingly heightens the impact of real presence; people resort to technological medium for communication nowadays 3. Technologies reinforce hierarchies - concentrate knowledge and skills; increase surveillance and erode privacy; widen inequalities of power and wealth; giving up control to machines). Douglas Rushkoff, a technological utopian, states in his article that the professional designers "re-mystified" the computer so it wasn't so readable anymore; users had to depend on the special programs built into the software that was incomprehensible for normal users.[40] 4. New technologies are sometimes regressive (worse than previous technologies).[40] 5. The unforeseen impacts of technology are negative.[40] “ 'The most common way is that there’s some magic artificial intelligence in the sky or in the cloud or something that knows how to translate, and what a wonderful thing that this is available for free. But there’s another way to look at it, which is the technically true way: You gather a ton of information from real live translators who have translated phrases… It’s huge but very much like Facebook, it’s selling people back to themselves… [With translation] you’re producing this result that looks magical but in the meantime, the original translators aren’t paid for their work… You’re actually shrinking the economy.'”[42] 6. More efficiency and choices can harm our quality of life (by causing stress, destroying jobs, making us more materialistic).[43] In his article "Prest-o! Change-o!,” technological dystopian James Gleick mentions the remote control being the classic example of technology that does not solve the problem "it is meant to solve". Gleick quotes Edward Tenner, a historian of technology, that the ability and ease of switching channels by the remote control serves to increase distraction for the viewer. Then it is only expected that people will become more dissatisfied with the channel they are watching.[43] 7. New technologies cannot solve problems of old technologies or just create new problems.[40] The remote control example explains this claim as well, for the increase in laziness and dissatisfaction levels was clearly not a problem in times without the remote control. He also takes social psychologist Robert Levine's example of Indonesians “'whose main entertainment consists of watching the same few plays and dances, month after month, year after year,’ and with Nepalese Sherpas who eat the same meals of potatoes and tea through their entire lives. The Indonesians and Sherpas are perfectly satisfied". Because of the invention of the remote control, it merely created more problems.[43] 8. Technologies destroy nature (harming human health and the environment). The need for business replaced community and the "story online" replaced people as the "soul of the Net". Because information was now able to be bought and sold, there was not as much communication taking place Kafkaesque" "Kafkaesque" redirects here. For the Breaking Bad episode, see Kafkaesque (Breaking Bad). Kafka's The Metamorphosis was even reprinted in the June 1953 issue of the pulp magazine Famous Fantastic Mysteries The term "Kafkaesque" is used to describe concepts and situations reminiscent of his work, particularly Der Process (The Trial) and Die Verwandlung (The Metamorphosis). Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu which evokes feelings of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape a labyrinthine situation. Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre, or illogical.[6][233][253][254] Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this genre that have been thus described include Patrick Bokanowski's film The Angel (1982), Terry Gilliam's film Brazil (1985), and Alex Proyas' science fiction film noir, Dark City (1998). Films from other genres which have been similarly described include Roman Polanski's The Tenant (1976) and the Coen brothers' Barton Fink (1991).[255] The television series The Prisoner and The Twilight Zone are also frequently described as Kafkaesque.[256][257] However, with common usage, the term has become so ubiquitous that Kafka scholars note it is often misused.[258] More accurately then, according to author Ben Marcus, paraphrased in "What it Means to be Kafkaesque" by Joe Fassler in The Atlantic, "Kafka’s quintessential qualities are affecting use of language, a setting that straddles fantasy and reality, and a sense of striving even in the face of bleakness—hopelessly and full of hope." [259] Commemorations Plaque marking the birthplace of Franz Kafka in Prague, designed by Karel Hladík and Jan Kaplický, 1966 3412 Kafka is an asteroid from the inner regions of the asteroid belt, approximately 6 kilometers in diameter. It was discovered on 10 January 1983 by American astronomers Randolph Kirk and Donald Rudy at Palomar Observatory in California, United States,[260] and named after Kafka by them.[261] Apache Kafka, an open-source stream processing platform originally released in January 2011, is named after Kafka.[262] The Franz Kafka Museum in Prague is dedicated to Kafka and his work. A major component of the museum is an exhibit, The City of K. Franz Kafka and Prague, which was first shown in Barcelona in 1999, moved to the Jewish Museum in New York City, and finally established in Prague in Malá Strana (Lesser Town), along the Moldau, in 2005. The Franz Kafka Museum calls its display of original photos and documents Mesto K. Franz Kafka a Praha ("City K. Kafka and Prague") and aims to immerse the visitor into the world in which Kafka lived and about which he wrote.[263] The Franz Kafka Prize, established in 2001, is an annual literary award of the Franz Kafka Society and the City of Prague. It recognizes the merits of literature as "humanistic character and contribution to cultural, national, language and religious tolerance, its existential, timeless character

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