Dystopias

Dystopias are usually dark images presented as what may be to come, or what could have been, often in order to comment on the present and current trends. What follows below is a list of writers and their works exploring variously the predicted future, or imagined futures, or imagined pasts, or imagined presents. I do not know whether the focus is merely mine, but technology and stage of technological development seem to play a significant role, whether through science fiction or through fantasy. An issue faced by all dystopic works is how to separate the dystopia from the real world. One method is to set the dystopia in the past. More commonly, the dystopia is set in the future, sometimes post-apocalyptically. A second method is to invent a fantasy world (Gormenghast, Middle Earth). A third is to place the dystopia on an island.

Early Works
Although I feel reluctant to include here The Revelation of St. John, canonically the final book of the New Testament, it purports to consider the future. Indeed, it is an eschatological work, that expresses the fears and hopes of the writer. There is no sense of a different technology, merely the destruction of society, maybe on moral grounds.
In total contrast, some of the writings and drawings of Galileo Galilei focus on moving technology forwards so as to better the lot of people in contemporary society.
Thomas More wrote a utopia, a pastoral idyll that I guess (for I have not read it) to be a kind of correction to all that was wrong with Elizabethan England. As I understand it, his writing was not about the future.
Nostradamus purported to predict the future. No doubt he had an agenda that was more financial and less mystical than popular imagination would care to believe. However, for people who take him seriously, the future was his to observe, not to control or judge. Why are people fascinated with his writing? What sort of people are fascinated with his writing?

Island Dystopias
Published in 1719, Daniel Defoe's novel about Robinson Crusoe, was based on the true story of Alexander Selkirk. Selkirk was shipwrecked, and for four years lived on an island off the coast of Chile. This was at a time when Britain was developing its empire. Selkirk and Crusoe had access only to pre-Iron Age technology, and the island represented regression.
The issue of regression, but much more explicitly regarding human nature, was explored by William Golding in The Lord of the Flies. In this 1950s novel, the aeroplane crash lands on a desert island, and the only survivors are children. The atavism that lies at the root of what it is to be human is progressively exposed by the island, leading to the savage murders of both Simon and Piggy.
In 1980, Lucy Irvine agreed with Gerald Kingsland to be Castaway (book, and movie starring Oliver Reed, 1986) on a desert island (Tuin Island in the Torres Straight, off the northern coast of Australia), as were both Joanna Lumley in Girl Friday (1994), and Tom Hanks, albeit fictionally, in Cast Away (2000).
Islas Sorna and Nublar constitute a different kind of island dystopia, inhabited by dinosaurs. These are largely closed worlds in which technology has been or becomes destroyed. It is ironic that it is only the most advanced technology that has permitted the re-creation of the archaic animal (and plant) life, whereas the dinosaurs themselves have the effect of destroying all technology. There is an obvious sense of disclocated time: 65 million years ago, a kind of present day, a near future in which such technology would be possible. There is also the observation in each movie that our society is fixated with entertainment I: theme park, II: safari, III: extreme sports / personal recreation.

Nineteenth and Twentieth Century Europe
During the height of the industrial revolution, with new sources of energy and new forms of power, the promise and threat of modern technology began to be explored.
In France, Jules Verne was writing exciting adventure stories, such as Journey to the Centre of the Earth, with exploration at their heart and new understandings of science and technology to add spice and suspend disbelief.
H.G.Wells wrote about possible futures. In The Time Machine, his protagonist is an observer; however, the tension between the Eloi and the Morlocks suggests a moral dimension that accords with Wells' eugenicist leanings. In both War of the Worlds and The Shape of Things to Come, Wells focuses on England in the future, although he gives a sense of life beyond Britain.
Fritz Lang's Metropolis is distinctly set in a future. It is not comforting.
Aldous Huxley set Brave New World in the future of the 26th century. It is a utopia in that it is a place of order, but it is a dystopia in that to a contemporary person there is no freedom. Huxley was extrapolating from what he knew of social (rise of Nazism and Stalinism) and technological developments (eugenics and the steadily increasing mechanisation of society).
Tolkein's response to what was happening in the world was to regress into the early medieval times of Middle Earth. In his highly moral tales, social relationships are rigid, and there is an absence of technology beyond the Iron Age. Middle Earth includes England (The Shire), but also includes dangerous places that are far away.
C.S.Lewis, in his writings, also explored a moral (Christian) past in Narnia (some of which resembles the medieval England of Robin Hood tales). However, Lewis also looked into the future, albeit with moral foreboding (Voyage to Venus, Out of the Silent Planet, That Hideous Strength).
Mervyn Peake also apparently retreated into a kind of Gothic (perhaps early 19th century) English past in his Gormenghast trilogy. However, his work is also more obviously a comment on what he was experiencing in mid-20th century England.
Written in 1947, and also commenting on post-war England, albeit set in the near future, is Orwell/Blair's 1984. There is technology, but no science. There is no freedom. For faithful party worker Winston Smith, the bad dream turns into a nightmare when he transgresses. There is for me an irony that whilst Orwell/Blair wrote that Big Brother is watching us, and therefore we must not transgress, in early twenty-first century, everyone is watching Big Brother, and has little time to transgress. With the exception, perhaps, of Monaco and Singapore, metropolitan Britain is probably one of the most observed places in the world, with webcams, cellphone cameras and closed-circuit television cameras beyond count. However, it is also clear from incidents such as the terrorist bombings in London on 7 July 2005, that despite hugely more advanced technology to the British state than was available in 1947 Britain, or to Airstrip One in 1984, it was not possible to prevent the bombings: the sense of being watched is more in the mind than in reality.
In Brazil, Terry Gilliam reworks 1984 into a darkly humourous absurdity. Whilst the location of the drama is a city in an economically-developed state, the place is more obviously New York than London.
In Escape from New York, John Carpenter takes the New York dystopia almost to its logical conclusion: the city as a prison from which there is no escape.
On the other hand, although A Clockwork Orange, is set both in place (southern England) and time (1960s), Anthony Burgess and Stanley Kubrick, in their dystopia, consider the breakdown of morals.
In John Wyndham's novels, there is a breakdown in society, usually precipitated by the desire for dangerous (scientific) knowledge: The Day of the Triffids, The Chrysalids, The Midwich Cuckoos (Village of the Damned: John Carpenter), The Kraken Wakes.
On the other hand, Arthur C. Clarke and Stanley Kubrick see progressive and evolutionary development of human awareness both as co-dependent on technological development, and also continuing into the future, as shown in 2001: A Space Odyssey. Similar ideas are developed more dystopically in Minority Report (starring Tom Cruise)
In I, Robot, Isaac Asimov develops a future in which the distinction between humankind and our technological creations become indistinguishable.

Post-Apocalyptic Visions of the Future
In The Postman, Kevin Costner plays the part of a drifter in a post-apocalyptic future in which society and civilised values and morals have been all-but destroyed. The stage of technological development is a mixture of early-Iron Age (I think that there is a blacksmith) and legacy industrial. Although the movie is critically held as flawed, it raises some interesting issues, for instance about what it is that we carry into the future. A hope for their future lies in rebuilding their civilisation, initially focused around the US Mail (c.f. the role of the Post Office in Die Blechtrommel).
In Waterworld, Kevin Costner plays the part of a drifter in a post-apocalyptic future in which society and civilised values and morals have been all-but destroyed. The stage of technological development is a mixture of pre-Iron Age and legacy industrial. The movie questions what will be left of our civilisation in centuries to come. A hope for the future, which becomes realised in the movie, is finding and re-inhabiting dry land.
In the Mad Max series, Mel Gibson plays the part of a drifter in a post-apocalyptic future in which society and civilised values and morals have been all-but destroyed. There is no hope for the future, and all hope has been destroyed.