Final

Phillip Root

Film 301/319

May 15, 2009

Final Prompt 1

 

Artificial Freedom and Intelligence

 

When looking towards the future, one must ask the questions of what shall be, or what could be, and with Blade Runner (Ridley Scott, 1982, U.S./UK) the audience is shown a unique perception of a possible future. With the financing of 15 million from Warner Brothers studios (4), Ridley Scott was able to create an incendiary world of fantasy, while maintaining a logistical take on what the future could be. With the basis of the book, “Do Androids dream electric sheep” (5), by Phillip K. Dick, Scott began to craft a tale of the future loosely based upon the text. Looking towards specifically the impact of, “Hyperreality”, and historical context of racism in history, I will also be using another film to help convey my message. Using the film as a way to reflect ideas I will use the film, “The Terminator”, by James Cameron (17), I will explore these two topics in retrospect to each other in certain instances.

Coming off of the enormous success of Aliens, and the mourning over the death of his brother, Ridley Scott began the journey towards creating a film that once again would visually and mentally arrest the viewer (9). Considering the films being made at the time such as, Close Encounters of the Third Kind, by Steven Spielberg (15), and “The Empire Strikes Back”, by George Lucas (16), Scott was given the freedom to create a film with both an exciting visual concept and the capacity for philosophical undertones.

Such evidence is in the way in which Scott establishes humanity within his science fiction films. This humanity was present through his ability to create humanity in his earlier science fiction film Alien, by creating a blue-collar mentality to the characters, or as he called it, “truckers in space”(9).  This mentality created an opportunity to service the story in a new and fresh strategy, by allowing the audience to connect to the journey taken by Harrison Ford’s character, Rick Deckard. This is seen through the un-extraordinary attitude that Deckard carries with himself. Also the surroundings that have the feeling of wear and tear give precedence to this connection of the normal, everyday life of a working stiff.

Following the main character of Rick Deckard, the audience is shown the city of Los Angeles in 2019.  The world of factories and clashing cultures, crashed together by overpopulation and globalization, created an incredible sense of mise en scene for the picture to convey the image of claustrophobia. With the narrative following the use of a science fiction setting through the use of flying vehicles and larger than imagined architecture, the audience is thus transported. The story focuses on Deckard, a former Blade Runner, which is the label for an assassin of Androids known as Replicants. The main functions of these machines are to work as the slaves for the off-world planets, even though they resemble humans in learning and features. Upon the escape of six replicants, Deckard is once again asked to terminate the problems that exist, and upon his journey he finds love with a female replicant himself, and a deep revelation of what humanity is.

Rob Batty, the head replicant responsible for the exodus, escapes slavery to come to earth to plea for extra life from his creator, Tyrell. This topic of a robot wanting life or even fathoming the concept of life is remarkable due to the time in which the film was made. Considering the original character concept of androids such as Robby in, Forbidden Planet (15), and C-3P0 in, The Empire Strikes Back (16), androids had a structured purpose that dealt with servitude and the role of support to human kind. This perspective on free will and determination for freedom was new territory, and with the murder of Tyrell by the hands of Batty due to his refusal for extended life, the film thus takes on a different viewpoint of what purpose an android has. This exploration of the blurring lines between what is reality and what is not are prevalent in, “Blade Runner”. Nobuyoshi Terashima details this examination of humanity without origin by stating,

 “"[Hyperreality] is nothing more than the technological capability to intermix virtual reality (VR) with physical reality (PR) and artificial intelligence (AI) with human intelligence (HI) in a way that appears seamless and allows interaction."(11)

After looking deeply into the film concerning how humanity is blurred, I found another film that correlated this idea as well. “Terminator”, by James Cameron explored this subject as well by showing the main character played by Arnold Schwarzenegger, as a cyborg bent on destruction of Sarah Connor. Though the Terminator looks human, underneath is an exoskeleton that has one purpose of destruction.  In “Simulacra and Simulations”, Jean Baudrillard states that hyperreality is showing life without origin or reference (1), and with both, “Terminator”, and “Blade Runner”, this is evident. Both come into existence from a non-human origin, and are breed to serve a singular purpose.

I relate these embodiments of humanity to Joe L. Kincheloe’s observation of how a symbol, such as the restaurant McDonald’s, “golden arches”, represents something but nothing (8). Though the symbol is prevalent and attracts many to the establishment there is nothing behind it, as correlated with the Terminator and the replicants. They symbolize humanity; yet can never fully obtain it, which leaves emptiness to their characters.  Even though they are empty symbols, they create anxiety of loss of self. As Judith Roof puts it, the loss of culture and transfer to machine culture adds the risk of all that is known being erased (10).

This subject is very interesting due to the way in which the goals of both the replicants and Terminator feel the need to obtain goals, even though they are not programmed to want or need these things. What captures our attention and breaks the realms of reality are the characteristics that are shown by both cyborg characters. As Forest Pyle writes in, “Making Cyborgs, Making Humans”, the basis of what we believe is reality is made askew by the continuing changing perceptions leading into a tweaked realm. By understanding in the beginning of, “Blade Runner”, that machines are machines, we begin the film with this solid idea, but are morphed throughout the film. From the replicant Rachael and Deckard’s relationship, we the audience let the hyperreality take place to change our perception of what is real, and in essence become confused of what love could be (2).

This is also shown in Terminator by understanding that machines are the destruction of humanity, but as we progress through the film, even more lines are blurred. For example, when both the T-800 and Kyle Reese are brought to the time period of 1984, we have no understanding of who is human and who is not. This reality is changed when the T-800 kills the street punks in the opening of the film and steals their clothes. From that point forward, we comprehend that the machines of the future have been able to replicate human tissue and are cyborgs, with thought and reasoning skills.    

            The historical context of the film also correlates with the effect of slavery and inferiority. According to Judith Kerman, in her book, “Retrofitting Blade Runner”, “That the replicants are perceived by the police as inferior is made clear by the racial epithet with which they are characterized by Capt. Bryant.”(7) This name used is “skin jobs”(7) and with this term is associated a prejudice connecting with any other racist term degrading person.  

An interesting point that arises from this historical angle of the story branches from the anxieties of white America, as the world was beginning to change. With the Civil Rights marches made by Martin Luther King Jr., and the speaking done by Malcolm X, the establishment was being tested. As Robert Barrienger describes the atmosphere of, “Blade Runner” in his article, “Blade Runner, Skinjobs, humans and Racial Coding”,

            “Clearly, the dangerous, dark city dominated by nonwhites and both crowded (at street level) and desolate (in Sebastian’s apartment building) marks a middle/ upper class white nightmare, from which those who are able have fled to "a better life" in the off-world colonies. We never see "the better life," but the film's foregrounding of crime, filthy streets, near-constant darkness and rain suggests that the colonies are safe, clean, sunny, and predominantly white” (3)

            This fear of being the minority as well as having former structure being broken gave another layer to the landscape of, “Blade Runner”. For, “Blade runner”, the relicants represent change in foundation by breaking the chains of slavery and pleading for life/freedom akin to Martin Luther King pleas. Yet for all the change, the profession of Blade Runners like that of racism hinder the possible changes by cutting the source of growth before conception.

            Correlating this to, “Terminator”, I found that as the replicants searched for freedom, the machines in Cameron’s film dissected how racism in American history became normal. In, “Technophobia”, Daniel Dinello explains that through our passive approach towards technologies growth, we accepted the dominance of what it could achieve (6). This connects to racism in America, by being submissive during the fifties to the atrocious acts of segregation. By allowing for this evil to grow it became dominant, as embodied in the, “Terminator”, with technology becoming self-aware.

            Looking once again at each of these films allows for inspection into ourselves, as we reflect our problems and phobias. From the loss of humanity to the question of what horrors can occur when we forget thought and reason (racism). These themes transcend the boundaries of what can be achieved when proposing a message of multiple means. After once again exploring these films, I found that after each time incendiary ways in which both artist view the world. Through a camera lens these ideas translate, which makes these two films important in not only science fiction, but in contemporary news in our society.           

 

Works Cited

1. Baudrillard, Jean, and Sheila F. Glaser. Simulacra and Simulation. 15th ed. University of Michigan, 1994.

2. Bell, David, and Barbara M. Kennedy. The cybercultures reader. Routledge, 2000.

3. "Blade Runner" by Robert Barringer." JCsplash. 15 May 2009 .

4. "Bladerunner - , the free encyclopedia." Wikipedia. 15 May 2009 .

5. Dick, Philip K.. Do Androids Dream of Electric Sheep?.  Pg. 112 New York: Signet, 1969.

           

 

6. Dinello, Daniel. Technophobia! Science Fiction Visions of Posthuman Technology. New York: University of Texas P, 2006.

7. Kerman, Judith B. Retrofitting Blade Runner Issues in Ridley Scott's Blade Runner and Phillip K. Dick's Do Androids Dream of Electric Sheep? New York: Popular P 3, 1997.

 

8. Kincheloe, Joe L. The Sign of the Burger McDonald's and the Culture of Power (Labor in Crisis). New York: Temple UP, 2002.

 

9. "Ridley Scott -." Wikipedia, the free encyclopedia. 15 May 2009 .

 

10. Roof, Judith. Reproductions of reproduction imaging symbolic change. New York: Routledge, 1996.

11. Tiffin, John. HyperReality Paradigm for the Third Millennium. New York: Routledge, 2001.

 

12. Alien (Two-Disc Collector's Edition). Dir. Ridley Scott. Perf. Sigourney Weaver. DVD. 20th Century Fox, 1979.

 

13. Blade Runner (Four-Disc Collector's Edition). Dir. Ridley Scott. Perf. Harrison Ford. DVD. Warner Home Video, 1982.

 

14. Close Encounters of the Third Kind (30th Anniversary Ultimate Edition). Dir. Steven Spielberg. Perf. Richard Dreyfuss, François Truffaut, Teri Garr. Theater viewing. Sony Pictures, 1977.

 

15. Forbidden Planet. Dir. Fred M. Wilcox. Perf. Leslie Nielsen. DVD. Warner Home Video, 1956.

 

16. Star Wars, Episode V- The Empire Strikes Back (Widescreen Edition). Dir. Irvin Kershner. Perf. Harrison Ford. Theater viewing. 20th Century Fox, 1982.

 

17. The Terminator. Dir. James Cameron. Perf. Arnold Schwarzenegger. MGM, 1984.

Phillip Root
4/24/09
Film 301/319


Eyes of Providence

In the dystopian future of, Blade Runner (Ridley Scott, 1982, US/UK), cyborgs known as Replicants look, act and learn just as humans do, but have one single indication other than their limited lifespan. This sign is that of the red tinted irises that appear throughout the film, showing their true nature as artificial. This effect, though small gives an incredible amount of reflection upon the issue of what is human when human can be replicated.

The origin of the special effect came by practical means. Jordan Cronenweth, the cinematographer of the film, used an old technique called the, “shifting process”(2). This effect would be done by using half a mirror at a forty-five degree angle towards the lens to pick up the red tint in the irises. By using this effect, a boundary was established between human and replicant that would have previously been difficult because of the similarity. Multiple examples abound of how the effect adds questions toward the reality of existence in, “Blade Runner”.


Sitting in the middle of a vast pyramid building owned by Tyrell Corporations, Decker is challenged to test Rachael to see if she is human with the Voight-Kamppf series of emotional questions. As the test progresses, a red tint can be visually seen in Rachael’s eyes, thus signifying the complication of a replicant with emotion. Revealing this result startles due to the previous scene in the Tyrell Building where an owl flies across the room by Deckard. As the owl perches, a tint is seen, thus showing that replicants can take forms of different subjects.
This brings up questions not only of humanity, but existence as well. When looking at the red tint effect, we are conflicted with multiple emotions. Can existence be expanded to technology, if certain variables (skin, hair, feelings, growth) are acquired? What was startling is that this issue connected to the effect is now affecting our world.

In Japan this issue is taking shape through a Child-robot that is beginning to form social skills, as well as sensation of touch pushes this issue in a contemporary sense (1) Will the same fate as, Blade Runner, inhabit our present day, in which we will be able to replicate life in machine? These steps towards giving human intelligence to artificial intelligence pulls the divide that much closer as a new reality is made (3).

One of the interesting segments of the film deals with the interaction between Roy Batty, a replicant, and his maker, Tyrell. Pleading for a longer existence, Batty reveals his red tinted eyes as he stands in the light, demanding life. When refused, Batty with anger reminiscent of humans plunges his thumbs into Tyrell’s eyes. This symbolizes the divide between humans, and the desire towards becoming human. By taking away the eyes of Tyrell, it manifests a message of the red eye effect. By not having humanity (human eyes), he will take them, for it what he lacks (red eyes).
After analyzing the film with the effect in context to the questions made of humanity, I found that it opened a can of worms to ideas pertaining to life. In our world of blockbusters trying to out do each production with computer-generated images, Scott was able to contribute an effect with soul. Sometimes it seems the most natural of effects brings the most impact towards the message of the film. In, “Blade Runner”, there is an extremely wide palette of visual beauty, but when brought down to it’s base, we find the truth of life and humanity, by the smallest things.

Works Cited
"AFP: Japan child robot mimicks infant learning." Google. 24 Apr. 2009 .
"Blade Runner (1982)." The Internet Movie Database (IMDb). 24 Apr. 2009 .
Bukatman, Scott. “Replicants and Alien Life.” Blade Runner. BFI Modern Classics
Series. Ed. Rob White. London: British Film Institute, 1997

Phillip Root

Midterm

Film 301/319

3/25/09

 

Looking in a Mirror Made of Film

 

Prompt 1.

Within, “Blade Runner”, (Ridley Scott, June 25, 1982, United States), and “A Clockwork Orange” (Stanley Kubrick, February 13, 1972, United Kingdom), both challenge humanities’ perceptions of humanity by explaining the hypocrisy of the label. Gender is one such hypocrisy seen within each film by determining the view of what our society perceives the specific topic. Such instances of sexual differences are shown throughout these films, thus examining how human and non-human are constituted as human through sexual means, and by doing so, mirroring our world’s perspective of what humanity is in those means.

            In, Blade Runner, gender is touched upon by the use of Androids known as Replicants, who serve human beings in conquering off-world colonies. Both women Replicants who escaped his duty were used in combat, yet what is brought up in the film is how the female replicants are used to men’s needs specifically. The character of Pris is constituted as being a sexual object for the crew of the off world expeditions, and this creates a reflection of how society views women as objects, rather than competent human beings with opinions and thoughts. How this is supported is through the other female replicant Zhora, whose specialty consisted of combat, yet as soon as she returns to earth in hiding, her only occupation is being an erotic dancer. Logic puts together that even though she has no information or identify in human terms, her gender is enough to still be perceived as a sexual object.

            Society’s viewpoint of how women are objects are also realized in, A Clockwork Orange, which also follows this characterization of gender. Multiple instances in the film display how women are objects, starting in the beginning sequence of the Milk Bar.  Alex and his clan of criminal Droogs, sit in a bar served with drug-induced milk, and are surrounded by statues of women exposed and used as furniture.   Alex is known as the non-human entity of the film by his sheer madness and sexual exploits, which correlate with his surrounding, consisting of degrading women in the bar. 

Mirroring our desires, Alex shows the extreme nature of male superiority supported by what he calls, “ultra- violence”. In these acts, Alex takes advantage of women through rape without consent, and taking away the rights of the female. An example occurs when Alex and his Droogs invade the home of the Alexander’s and brutally rape Mrs. Alexander in front of Frank Alexander.  Taking away all rights and power of the women, we witness the revolting representation of how women rights are taken advantage due to their physical aspects.

            Historical context gives significance to these ideals of gender, by looking at the past of the social perception of women’s roles in society. Being that the fifties and sixties established the women’s roles as housekeepers and sheppards of children, a false and narrow perception of what a women was able to achieve was made. Superiority of the male was seen as being commanding to the household as the provider to the family, and through this image, gave an unfair inferiority of women. Both films showed how women are still degraded and through the reflection of the replicants and women of fantasy by Alex.

            This concept of societies perception of women is thus challenged by each of these films’ character’s by also giving power to women in different regards. For, Blade Runner, Pris plays innocence of a child, establishing her femininity, but that does not encompass her. She is intriguing and smart, which reflects the rising feminist moment in the seventies, which preceded the making of the film in 1982. Her power of understanding the situations of escape and survival without a male counterpart shows the individual strength of independent women. Though she has her relationship with a male replicant named Roy Batty, she does not depend on him, but rather helps Roy Batty achieve his goals of reaching his maker, Tyrell, through her intelligence.

When Alex decides to continue his violent tirade against a health farm director, he finds the challenge to gender role by the embodiment of the, “cat lady”, who runs the farm. Instead of being taken advantage, she confronts Alex’s desires and shows dominance, which correlates with the empowerment of a woman. This action brings justice to Alex by putting him into prison and gives punishment to his ludicrous actions. This display of power gave a voice for the female majority by visually exhibiting the strength of a woman in times of gender repression and degradation.

            Each picture paints a different shade of what women have been characterized as, and with each film commenting on gender, the divide becomes evident. The harsh reality of gender classification is shown in horrible lights, yet is shown through main characters that have either have no soul, or a tortured one. These examples give the public an understanding of our bias towards gender and let us reflect upon the injustices we face everyday, and with this information give a route to take to pursue a brighter future.

 

 

Prompt 2.

 

In, Blade Runner, and A Clockwork Orange, ethnicity and racial difference are touched upon and delve deeper into humanity. From Roy Batty’s Aryan supremacy to that of the British government’s attempts to reform Alex, the films look beneath the outer shell to discover startling truths. The concept of what life should be and how to accomplish the goal of normality gives the viewer an understanding of our structures that have been built in our society and the motives used to maintain the status quo, even when they in fact destroy what humanity is.

            The character of Alex in, A Clockwork Orange, is young man obsessed with violence, sex, and Beethoven, and for these excessive traits is looked as inhuman. Ethnicity plays a major part in the film, by trying to reform Alex to fit into society yet raping him of his human identity. This is done by a process called the, Ludovico Technique, which exposes the patient to violent images, supplied with a serum to invoke feelings of displeasure. Alex’s nature is changed, but by the standards of keeping the ethnicity of a near future Britain composed.  Even though it was successful, the technique took away the essential piece of life, that being choice in his actions and morality.

         Race becomes an issue as well in the film, “Blade Runner”, by examining the Aryan philosophy of perfection. Roy Batty symbolizes this example by being physically demanding and excelled beyond his counterparts, yet is ingrained with the imperfections of humanity. Imperfections that are the expiration of his life in three years, thus correlating with his quest for an extension of life, and by pursuing this goal shows the high expectations of a higher being. This superiority complex fits the Aryan label, by determining that the actions of Roy Batty are beyond the label of a replicant.  Furthermore through the creation of Batty, the underlying message of humanity grasping for Godlike qualities in reproduction are exposed. As Judith Kerman put it in, “Retrofitting Blade Runner”.

            “If human culture creates artificial life, does such life deserve to be embedded in the same ethical discourse which we apply to naturally-evolved life, and especially human life?” (4)

This quote brings up ethnicity and race which correspond with the nature in which each of the characters in the films represent a non-human entity created by their societies. With Alex, the world is unstructured and violent, and thus creates the entity he is. From his reformation society discovers that though his desires are evil by their morality, they are essential to humanity. As I.Q. Hunter put it in, “British Science Fiction Cinema”, “…science and humanity are incompatible.” (3)

With Roy Batty, his fate given to him by his maker, Tyrell, is found to fit society’s mold of life and death. Reason being that life is short and to understand the beauty it contains, one must come to terms with its brevity.  Human and non-human resolution in these films give the viewer a greater appreciation of what life entails, by bringing up topics such as sex, life, morals, and anger. These subjects let the public look towards what in our society needs to change; yet also allows for the public to understand our humanity, and through this examination brings enlightenment.

 

 

           

 

 

 

 

 

 

 

Works Cited

1. Blade Runner. Dir. Ridley Scott. Perf. Harrison Ford. Warner Brothers, 1982.

2. A Clockwork Orange. Dir. Stanley Kubrick. Perf. Malcolm Mcdowell. Warner Brothers, 1971.

3. Hunter, I.Q. British science fiction cinema. Routledge, 1999.

4. Kerman, Judith B. Retrofitting Blade Runner Issues in Ridley Scott's Blade Runner and Phillip K. Dick's Do Androids Dream of Electric Sheep? New York: Popular P 3, 1997.

Artificial Freedom and Intelligence

Phillip Root

Film 301/319
February 18, 2009

Visual Assignment 1

Artificial Intelligence and Freedom

When looking towards the future, one must ask the questions of what shall be, or what could be, and with Blade Runner (Ridley Scott, 1982, Los Angeles and Burbank, California. Sheppertion, and Surrey, England, UK.), the audience is shown a unique perception of a possible future. With the financing of 15 million from Warner Brothers studios (1), Ridley Scott was able to create an incendiary world of fantasy, while maintaining a logistical take on what the future could be. With the basis of the book, “Do Androids dream electric sheep” (2), by Phillip K. Dick, Scott began to craft a tale of the future loosely based upon the text. From the emphasis on freedom, and cultural lines blurring, the question the movie poses is what made a human, human? These answers and more were examined throughout this science fiction epic from Ridley Scott in the proposed future in 2019.

Coming off of the enormous success of Aliens, and the mourning over the death of his brother, Ridley Scott began the journey towards creating a film that once again would visually and mentally arrest the viewer (5). Considering the films being made at the time such as, Close Encounters of the Third Kind, by Steven Spielberg (9), and “The Empire Strikes Back”, by George Lucas (11), Scott was given the freedom to create a film with both an exciting visual concept and the capacity for philosophical undertones. Such evidence is in the way in which Scott establishes humanity within his science fiction films. This humanity was present through his ability to create humanity in his earlier science fiction film Alien, by creating a blue-collar mentality to the characters, or as he called it, “truckers in space”(5). This mentality created an opportunity to service the story in a new and fresh strategy, by allowing the audience to connect to the journey taken by Harrison Ford’s character, Rick Deckard.

Following the main character of Rick Deckard, the audience is shown the city of Los Angeles in 2019. The world of factories and clashing cultures, crashed together by overpopulation and globalization, created an incredible sense of mise en scene for the picture to convey the image of claustrophobia. With the narrative following the use of a science fiction setting through the use of flying vehicles and larger than imagined architecture, the audience is thus transported. The story focuses on Deckard, a former Blade Runner, which is the label for an assassin of Androids known as Replicants. The main functions of these machines are to work as the slaves for the off-world planets, even though they resemble humans in learning and features. Upon the escape of six replacints, Deckard is once again asked to terminate the problems that exist. The main replicant is a challenge, because with his ability to learn and reason, the story takes an unexpected turn.

Rob Batty, the head replicant responsible for the exodus, escapes slavery to come to earth to plea for extra life from his creator J.F. Sebastian. This topic of a robot wanting life or even fathoming the concept of life is remarkable due to the time in which the film was made. Considering the original character concept of androids such as Robby in, Forbidden Planet (10), and C-3P0 in, The Empire Strikes Back (11), androids had a structured purpose that dealt with servitude and the role of support to human kind. This perspective on free will and determination for freedom was new territory, and with the murder of Tyrell, his original creator by the hands of Batty due to his refusal for extended life, the film thus takes on a different viewpoint of what purpose an android has.

The historical context of the film also correlates with the effect of slavery and inferiority. According to Judith Kerman, in her book, “Retrofitting Blade Runner”, “That the replicants are perceived by the police as inferior is made clear by the racial epithet with which they are characterized by Capt. Bryant.”(3) This name used is “skin jobs”(3) and with this term is associated a prejudice connecting with any other racist term degrading person. Feeling oppressed, Batty revolts and thus embodies the spirit of change and civil rights justice. Conjuring characteristics of both Martin Luther King Jr. and Malcolm X, Batty is similar in achieving freedom through action and peace. For example, when Batty interrogates one of the Engineers for information to find J.F. Sebastian, a man with the key to his continuing existence. Batty's methods of assertiveness reflect a urgency reserved for the actions of a human. This reflects the methods of action in which Malcolm X, as he would quote, “by any means necessary”(6). Yet Batty also relates to Martin Luther King Jr., by showing mercy and remorse for Deckard in the final conflict on the top of the skyscrapers. This compares to the actions taken by King, by showing mercy and remorse for the white moderate were naive and arrogant, as clearly stated in King’s writings from Birmingham jail (4). Considering as well the context in which Scott portrays this touchy issue was in fact a current issue of what Phillip K. Dick was experiencing while writing the source text. During the sixties, the Civil Rights Movement was in affect, and with the Civil Rights Acts of 1964, 1965, and 1968(4) a new and unknown era was beginning, which is envisioned through the film with the merging of one society.

Through the progress made in racial divisions, questions in the film arose of how far we could go in blending together. Such an example is seen through the character of Gaff, a Hispanic officer, who uses a combined language assorted by the multiple cultures mixed together, which is called, “Cityspeak”(1). With this new culture, new ideas are mixed within each other to form something new and spell bounding. From the incredible frame of the Geisha visual advertisement reflected across the incredibly enormous skyscraper, we visually see an underlying message of the crossover of cultures. Meaning that advertising that was made for Asians primarily, now was nationally known in the future of 2019, from the shrinking world that has evolved into globalization.

These questions posed by the original text by Dick and modernized by Scott, gave the viewer questions to ponder considering where our world was headed, and where it had been. The possibility of technology becoming aware or in fact, evolving towards a state of consciousness is paranoia for us as a society due to our inability to grasp change, as seen by our segregated past. Yet also shows how change can be hazardous due to the possible ability to play god by creation, or create new prejudices. What makes the film work is the idea of the unexpected or the acceptance that the world is unknown. That the science fiction genre can be pulled down to examine an intimate story of learning the concept of love instead of hate and resentment. Shown in Deckard’s character, we see a loss in connection at the beginning of the film, with his flying car and aspirations of his own freedom from his occupation, or slavery in a sense. When looking at the concluding sequence of the film we see his love for an Android by the name of Rachael, juxtaposed from his earlier surroundings, he is seen as free in a car riding through a beautiful countryside (8). This idea of freedom through the power of open-minded idealism creates a masterpiece of contemporary film by the true modern genius of Ridley Scott.




Works Cited


1. "Blade runner - Wikipedia, the free encyclopedia." Wikipedia. 14 Feb. 2009 .

2. Dick, Philip K.. Do Androids Dream of Electric Sheep?. Pg. 112 New York: Signet, 1969.


3. Kerman, Judith B.. Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Phillip K. Dick's Do Androids Dream of Electric Sheep?. Bowling Green State University: Popular Press 3, 1997.

4. King, Jr., and Martin Luther. Letter from the Birmingham Jail. New York: HarperCollins, 1963.

5. "Ridley Scott - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. 15 Feb. 2009 .

6. Speeches, Any Means Necessary:, and Interviews. "Malcolm X - Wikipedia, the free encyclopedia." Wikipedia. 15 Feb. 2009 .

7. Alien (Two-Disc Collector's Edition). Dir. Ridley Scott. Perf. Sigourney Weaver. DVD. 20th Century Fox, 1979.

8. Blade Runner (Four-Disc Collector's Edition). Dir. Ridley Scott. Perf. Harrison Ford. DVD. Warner Home Video, 1982.

9. Close Encounters of the Third Kind (30th Anniversary Ultimate Edition). Dir. Steven Spielberg. Perf. Richard Dreyfuss, François Truffaut, Teri Garr. Theater viewing. Sony Pictures, 1977.

10. Forbidden Planet. Dir. Fred M. Wilcox. Perf. Leslie Nielsen. DVD. Warner Home Video, 1956.

11. Star Wars, Episode V- The Empire Strikes Back (Widescreen Edition). Dir. Irvin Kershner. Perf. Harrison Ford. Theater viewing. 20th Century Fox, 1982.

Artificial Freedom and Intelligence