Planetarianism, proposed by Masao Miyoshi for literature and literary studies, calls for a new sense and organization of human totality truly inclusive of all and against neoliberal division, exclusion, repression, and egocentric consumption. Ironically, it is also the global neoliberal economy that lays the only realistic foundation for such a totality, albeit under negative circumstances. This economy has caused a rapid environmental deterioration that involves everyone on the planet, regardless of identity. Human beings are left with just two choices: either collectively forge new relationships among ourselves and with the planet or perish in the environmental devastation wrought by our continuous consumption, exploitation, division, and conflict. Imagining a totalizing environmental disaster and a global unity fighting for the survival of humanity and Earth, the 2019 Chinese sci-fi blockbuster The Wandering Earth is an important case for illustrating what complex forms the idea of planetarianism may take in a concrete ideological and creative context. The author argues that the film's future imagination bears laudable potential to promote a turn from exclusionist individualism, represented by the Hollywood science fiction model, to inclusive planetarianism. However, the film's persuasiveness is significantly limited by the double-layered restraint imposed on it by the state and the market. This article traces the turn and the restraint to their historical sources, closely analyzes where the film succeeds and fails in moving beyond the Hollywood vision of the planet's future, and thereby enriches our understanding of the cinematic imagination of planetarianism.

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