Frankenstein and Blade Runner
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Frankenstein and Blade Runner
Humanity’s unrestricted pursuit of scientific knowledge and consequent usurpation of the omnipotent role of God ultimately results in disruptions of the natural order of nature and humanity along with the scrutiny and criticism of mankind’s innate identity.
- Tyrell and Frankenstein’s Prometheus-like ambitions to achieve scientific advancements.
- Socially criticise humanity’s flawed identity through the juxtaposition of humanity’s monstrosities with the humane nature of artificial beings.
Mary Shelley’s Frankenstein, 1818 gothic science fiction novel Ridley Scott’s Blade Runner, dystopian film noir
- Romantic, natural environment, criticism of man’s positivity towards gaining scientific knowledge in Industrial Revolution. - Bleak, mechanised future, criticism of increasingly commercialised and artificiality of the world in the 1980as.
- Humanity is affected by expansion of modern man into dark areas of scientific knowledge: eventual death of Victor Frankenstein.
- Classical allusions to Greek Prometheus legend, in which Prometheus’s ‘foresight’ of the heightened mankind is comparable to Frankenstein’s desire to create life.
- Both suffer harsh consequences as a result of assuming the omnipotent role of God.
- Gothic, dark imagery “dead corpse”, recurring theme of death foreshadows Frankenstein’s own death.
- Frankenstein: “how dangerous is the acquirement of knowledge”.
- Symbol of light is the representation of knowledge, Frankenstein created monster in “half-extinguished light”. - Eventual death of Eldon Tyrell whose intrinsic desire of scientific advancement result in dehumanisation and eventual death of both characters.
- Presents audience with negative representation of Tyrell, represented as a Machiavellian puppet master who gains power and assumes a God-like persona by toying with his Nexus 6 Replicants.
- Egocentric, individualised, unnatural dominance over society: low angle shots of Tyrell...
Humanity’s unrestricted pursuit of scientific knowledge and consequent usurpation of the omnipotent role of God ultimately results in disruptions of the natural order of nature and humanity along with the scrutiny and criticism of mankind’s innate identity.
- Tyrell and Frankenstein’s Prometheus-like ambitions to achieve scientific advancements.
- Socially criticise humanity’s flawed identity through the juxtaposition of humanity’s monstrosities with the humane nature of artificial beings.
Mary Shelley’s Frankenstein, 1818 gothic science fiction novel Ridley Scott’s Blade Runner, dystopian film noir
- Romantic, natural environment, criticism of man’s positivity towards gaining scientific knowledge in Industrial Revolution. - Bleak, mechanised future, criticism of increasingly commercialised and artificiality of the world in the 1980as.
- Humanity is affected by expansion of modern man into dark areas of scientific knowledge: eventual death of Victor Frankenstein.
- Classical allusions to Greek Prometheus legend, in which Prometheus’s ‘foresight’ of the heightened mankind is comparable to Frankenstein’s desire to create life.
- Both suffer harsh consequences as a result of assuming the omnipotent role of God.
- Gothic, dark imagery “dead corpse”, recurring theme of death foreshadows Frankenstein’s own death.
- Frankenstein: “how dangerous is the acquirement of knowledge”.
- Symbol of light is the representation of knowledge, Frankenstein created monster in “half-extinguished light”. - Eventual death of Eldon Tyrell whose intrinsic desire of scientific advancement result in dehumanisation and eventual death of both characters.
- Presents audience with negative representation of Tyrell, represented as a Machiavellian puppet master who gains power and assumes a God-like persona by toying with his Nexus 6 Replicants.
- Egocentric, individualised, unnatural dominance over society: low angle shots of Tyrell...