ABSTRACT
This chapter outlines the reasons and rationale for revisiting a group of dystopian and post-apocalyptic films. It demonstrates their narrative principles draw on actually existing risks but rework them creatively, thus providing alternative visions of humanity's futures. Their covert agendas look to salvaging humanity's well-being, which is also the underlying philosophical principle of tourism mobilities. Not only do these cinematic narratives relocate their makers to actual filming sites, occasionally outside their homeland, they also coerce them to adopt various social roles as tourists. It closer looks at these cinematic tourist sites, as well as the processes induced in host territories upon those artists' arrival. In cinematic art, governmobility's structural embedding into neoliberal markets was reflected in the ways the category of human became more fragile, fragmented and simultaneously ever more subject to preventative planning against risks. Such cinematic artists are discussed as imagineers', social actors combining the craft of engineering with the artistic gift of imagining alternative futures for humanity.
