Frankenstein and Bladerunner

Both Shelley and Scott challenge the audience's perception of the human condition depict that being human does not necessarily guarantee humanity. Fundamentally, both texts examine the nature of humanity and who retains the right to determine someone's nature, deeming them as either human or not. In both texts, the composers express an emotional awareness, which demonstrates that the monsters and replicants are, in fact, more humane, empathetic and just than those who themselves claim to be human. Both in Frankenstein and Blade Runner the creations are presented as blank slates which become corrupted because of the experiences that they are subjected to and their interaction a society who rejects them, as the other.   Whilst within Frankenstein's is Locke's Tabula Rasa, engraved within Blade runner is Descartes' concept “I think, therefore I am,” as quoted by Pris. The use of intertextuality of such a well-known reference from Scott's contexts shapes meaning, conveying her pre-existing notion of identity. It also emphasises that as the replicants view themselves as equal if not superior to humans, then they eventually will transcend humans. They view themselves as human, and throughout the film are shown to exhibit humanity and compassion, whilst the humans do not. The use of a long shot in the scene where Zhora dies pans along the walkway, establishing an image in which humans continue to walk past a person   who has just been shot without so much as blinking an eye. Murder is viewed as an act of absolute malice within Scott's context, and given that this is ignored depicts the loss of morality and humanity by humans. This further emphasises that being human does not necessarily guarantee humanity, which challenges the established values of Scott's context. Similarly within Frankenstein, it is evident that Shelley supports Locke's theory of the blank slate, and as the monster develops becomes corrupted due to his experiences and observations, which also enables him...