This article begins by positing the absence of the eutopian genre within mainstream film and hypothesising that such an absence is worthy of artistic exploration. After discussing why film is considered crucial, the article examines Utopian Studies articles by Peter Fitting, Peter Ruppert and Robert Shelton, who discuss utopia in film with reference to Lyman Tower Sargent’s definition of utopia. The article suggests that although these writers also detected an absence of eutopian film, their analysis was obscured by focussing on the ‘utopian impulse’, a more important tool for scholars than artists. The distinction between the ‘utopian impulse’ and the ‘utopian art-form’ is probed with reference to Fredric Jameson and Douglas Kellner, suggesting that the missing genre might be better described as the utopian art-form. Problems raised by the words ‘utopia’ and ‘eutopia’ are then discussed. ‘Eutopia’ is found to be more suitable for the article’s aims. Following a short summary of utopia’s historical reputation, where Adorno’s argument against describing positive imaginaries is addressed, Tower Sargent’s definition of ‘eutopia’ is explored with reference to the ‘sociopolitical’, ‘place’ and relation of eutopia to its readers. These terms are used to examine the relevance of three films (Black Panther (2018), Tomorrowland (2015) and Blade Runner 2049 (2017)) to the eutopian art-form, showing how using these terms can help to understand what the eutopian art-form is and how to create new instances of it. A closing look at the existing field of mainstream film leads to a summary of this article’s findings, namely that the eutopian art-form is absent and that this space presents a valid space for new artistic creation.

中文翻译：

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描绘电影流派：乌托邦

本文首先假设主流电影中不存在欧式风格，并假设这种缺失值得进行艺术探索。在讨论了为什么电影被认为是至关重要的之后，本文考察了彼得·菲廷，彼得·鲁珀特和罗伯特·谢尔顿的乌托邦研究文章，他们参考莱曼·塔·萨金特对乌托邦的定义来讨论电影中的乌托邦。这篇文章表明，尽管这些作家也发现了没有乌托邦电影的内容，但他们的分析却因为关注“乌托邦冲动”而被模糊了，乌托邦冲动对学者而言是比艺术家更为重要的工具。参照弗雷德里克·詹姆森（Fredric Jameson）和道格拉斯·凯尔纳（Douglas Kellner）来探讨“乌托邦冲动”与“乌托邦艺术形式”之间的区别，这表明缺失的流派可以更好地描述为乌托邦艺术形式。然后讨论了由“乌托邦”和“乌托邦”两个词引起的问题。发现“ Eutopia”更适合本文的目的。在简短概述了乌托邦的历史声誉之后，提出了阿多诺反对描述正面假想的论点，随后塔·萨金特（Tower Sargent）参照“社会政治”，“地点”以及与读者之间的关系探讨了对“乌托邦”的定义。这些术语用于检查三部电影（《黑豹》（2018），《明日世界》（2015）和《银翼杀手2049》（2017））与eutopian艺术形式的相关性，表明如何使用这些术语可以帮助理解eutopian艺术-form是以及如何创建它的新实例。仔细研究主流电影的现有领域，可以总结本文的发现，