![]() ![]() Rollerball envisioned a reality where the corporate realm completely supplanted the nation-state order, whereas Death Race 2000 speculated about a unipolar dominance of the US with corporate hegemony and the suspension of internal democracy. ![]() ![]() With overlapping trends, the films imagined two different futures at this particular historical conjuncture. None of which, of course, can be understood as separated from one another. And in the absence of such a statement, it becomes what it seems to have mocked-a spectacle glorifying the car is an instrument of violence.”īut forty-five years on, these sports science fiction films which presented depictions of dystopian futures retroactively offer insights into political concerns pervading the 1970s-a decade characterized by crises in oil and energy, global stagflation (a coterminous stagnation and inflation), frivolous wars, and global political revolutions. The former film, the writer noted, “spends far too much time on the graphic details of the various Rollerball contests to mean for us to find them nothing more than a melodramatic swindle,” while Death Race 2000 “reveals itself to have nothing to say beyond the superficial about government or rebellion. The reviewers of Rollerball and Death Race 2000 criticized the films for being short in satire and substantive storytelling. In June 1975, two film reviews ran in the New York Times, twenty days apart. ![]()
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