1. 研究目的与意义（文献综述）

young adult (ya) dystopian literature is a trend that is taking the nation by storm. since september 11, 2001, the genre has gained a strong backing from academics, authors, and ya readers. after suzanne collins’s the hunger games (2008), however, ya dystopian literature has become the forefront of teen reading, especially with the recently adapted film versions of the widely renowned trilogy.

constant surveillance, oppressive ruling regimes, lack of freedom, and forced conformity are all aspects of adolescent life that teenagers deal with on a daily basis. while parental supervision and peer pressure may not be the end of the world, many young adults feel as if they are trapped and need to search for a way out or a way to change their current situation. the pursuits and concerns of adolescents are often varied and minimal in comparison to large-scale world issues; when these issues are heightened to the extreme, however, they exemplify the dimensions of a newly resurged genre of young adult (ya) stories: dystopian literature.

the concept of a dystopia has been utilized in literature for many decades, dating back to aldous huxley’s brave new world (1932), george orwell’s 1984 (1949), ray bradbury’s fahrenheit 451 (1953), and many more texts that influenced the genre of dystopian literature (ames 3). these mainstream dystopian works—written for adult readers—are centered on surveillance, fear of information and aging, and numbing the realities of life to name a few of the trends. these novels emerged in the middle of the twentieth century as a response to political, economic, and cultural shifts. anxieties regarding the place of individual freedom within often repressive and warring nation states led these authors to speculate on how restrictions on the individual might impact the world on a larger scale.

2. 研究的基本内容与方案

the aim of this paper is to analyze the dystopian theme in adapted western science fiction via a comparison between mainstream dystopian films and young adult sci-fi films, thus find a new way of appreciating adapted dystopian science fiction.

multiculturalism has played an increasingly important role in ya literature for the past 50 years (kaplan 22). as the united states undergoes the biggest culture change of its history, more ya readers are learning to appreciate racial diversity and the new perspectives that it can teach (23). rather than reading texts that depict caucasian and european protagonists and settings, teenagers are picking up stories with narrators from all over the world. now that multiculturalism has a voice in ya literature, “the other has become the norm,” a phenomenon that has carried over to ya dystopian literature as well (23). because dystopian literature is political in nature, adding characters that represent different ethnicities can help to enact social change and can empower people from those cultures (smith, et al. 5). if ya dystopian literature features and embraces america’s increasing diversity, then teens will continue to learn about and strengthen their multicultural competencies (kaplan 23). some multicultural ya dystopian texts that are taking the market by storm include ally condie’s matched series (2010, 2011, 2012), paolo bacigalupi’s ship breaker series (2010, 2012), and karen sandler’s tankborn series (2011, 2013, 2014).

3. 研究计划与安排

before 20th january : settlement of the title

before20th march: submission of the outline

before 25th may: submission of the phased results

4. 参考文献（12篇以上）

[1]陈 欣, 刘 莉. 科技与人性的两歧 ——试析青春反乌托邦影片《分歧者 ：异类觉醒》.

[2]袁思远. 欧美科幻电影反色彩研究：[硕士论文].南京师范大学,2014.

[3]陈欣.《自由意志与人的实践性异化—小说〈云图〉的反乌托邦精神解读》，《当代文坛》2014年第5期，第84-85页。