Frankenstein and Blade Runner Essay

The texts, Frankenstein and trade name Runner reflect changing contextual values however the treatment of content remains the same. Mary Shelleys didactic Frankenstein published in 1818 centres on scientific advancement of the industrial Revolution, as presented finished a consolidation of Gothic and Ro adult maletic elements in response to the shifting paradigms of the Enlightenment Age. Similarly, Blade Runner directed by Ridley Scott in 1982, transforms the notions of Frankenstein to position its postmodern audience to consider the negative ramifications of the ice-cold War and the rise of capitalism.These contextual ideas will be explored through the thematic concerns pertaining specifically to the destructive potential of abusing scientific great power, the flawed tariff of world as creator and the temperament of for well-favouredity. Indeed, Blade Runner is a realisation of the sublime warnings highlighted by Shelleys Frankenstein in 1818. Destructive potential of abus ing scientific power Frankenstein highlights the destructive potential of abusing acquaintance through overpowering mankind virtuousity and provoking irresponsibility.The 18th Century Age of Enlightenment was a amicable movement where logic and reason was advocated as the primary root system of authority, characterised by scientific advancements such as Galvanis concept of electricity as a reanimating force and theorists such as Erasmus Darwin. Hence, Waltons allegory, influenced by Age of Enlightenment, What may not be expected in a country of unceasing light? is mantric for both Walton and Frankenstein who display a thirstiness for knowledge in their respective scientific quests.The metaphor and symbol of eternal light represents the mysteries the pair wish to uncover and accompanied with rhetorical interrogative it reflects the optimism of society embracing the Age of Enlightenment. However, the irrevocable consequences of abusing scientific power is highlighted when Fr ankenstein says, solely my speculations and hopes are as nothing, and like the archangel who aspired to omnipotence, I am chained to an eternal hell. as he is tormented by the filthy daemon he creates a giant even Dante could not have conceived.The allusions to trick Miltons Paradise Lost and Dante Alighieris Inferno through metaphor and simile emphasises the destructive potential of abusing scientific power as Frankensteins surroundings decays into hell. This caution of the destructive potential of abusing science is realised in Blade Runner through Scotts mise-en-scene of the dystopian urban dissipation of 2019 Los Angeles, emphasising the destruction of the natural environment as a result of the wintry Wars nuclear threat and rise of consumerism.In the possibility sequence, the slow-panning panorama shot, under chiaroscuro lighting, captures a hellish megalopolis with huge smokestacks spewing fire into the ambiance and large pagan corporate edifices towering over the ci ty. This disorienting mental resourcefulness is coalesced with violent, non-diegetic sounds and visuals of constant rain, symbolizing concerns of acidic rain and the burning of the environment. Hence, Scotts utilization of futuristic film noir cinematography establishes a grim, claustrophobic environment that is completely devoid of the natural world.By depicting such dystopia and misgiving contextual concerns such as the capitalist deregulation and the trickle big money theory of Reagans era, Scott applies Shelleys Promethean motif to caution viewers rough the potential environmental dangers of abusing modern technology and nuclear warfare, which were widespread social concerns at the time imputable to the climax of the Cold War. Flawed responsibility of men as creator Frankenstein highlights how unrestrained science undermines mans responsibility as creator.Shelleys era was a time of spiritual revival where philosophers such as Kierkegaard asserted spirituality was more than object glass appearance and demanded engagement. In both texts, several biblical allusions are do to the image of man usurping the title of creator and creation becoming the forsaken move angel. Hence Victors Godly damnation reflects man as illegitimate to play the section of God Wretched devil You imp separately me with your creation come on, then, may I extinguish the spark which I so negligently bestowed. Through the emotive biblical language and poetic allusion to Miltons Paradise Lost, Shelley evokes the retelling of Satans fall from grace, where the monsters likeness to the fallen angel, exacerbates the notion that man, corrupted by the moral in predisposition of science, is flawed as creator. Moreover, the spark alludes to the eternal light which irresponsibly leads to the immoral creation of a monster that is both extravagant and aberrant.This is illustrated by the graphic imagery of the monsters impurity such as skin arely covered and yellow eye alongside the creature s throeful personal recollections through direct use of the first person, I was a poor, helpless, miserable wretch. I knew, and could distinguish, nothing but feeling pain invade me on all sides. Hence, Shelley highlights to readers in the Enlightenment period that nescient selfishness of men corrupts the moral grounding of scientific pursuit rendering man as illegitimate to play the role of God.The issue of mankind as selfish creators, disengaged from institutionalized structures such as Christendom, is extended in Blade Runner in the meeting of the maker scene. Tyrell ruthlessly exploits his economic power by separating himself from the decaying dystopia of Los Angeles. Tyrells fundamentally flawed intentions are personified in the Tyrell wads edifice of a Grandiose, Mayan style benefit physically exerting a powerful dominance over the city.It is presented through an upward panning low tap shot, spliced with close up shots to reinforce the dominance of consumerist progress i n dystopia. The pyramids historical association with Egyptian royalty links them with the divine, typifying Tyrells God-like role as creator. This is reinforced in Tyrells costuming of white article of clothing amidst long shots of a candle-lit church atmosphere, typifying his glorified religious status.Moreover the low-angle shots of the unsubstantial owl with dark shadows emphasises the extent to which the natural environment has been artificially remodeled due to the rise of consumerism in the 1980s. Hence, the de kindised portray of Victor Frankenstein and Tyrell demonstrates that despite differering contexts, science leads to an abandonment of moral responsibility and man is flawed as creator. What constitutes valet de chambre in an individual Frankenstein highlights the true nature of humanity as influenced by the 18th Century Romantic dejection.The 18th Century Romantic Movement was a social reaction against the 18th Century Age of Enlightenment, characterised by stressin g the beauty of the natural world and emotional feeling. The natural worlds splendour is highlighted as Frankenstein flees to Mont Blanc for conciliatory peace away from his torment. The unstained blanched mountain-top, the glittering pinnacle the eagle soaring amidst the clouds. The Romantic and emotive language, imagery and allusion to Edmund Burkes On the Sublime and the Beautiful portrays the beauty of the natural world, free from destructive science.Further humanitys emotions are romanticised through the benevolent portrayal of the Monster. No father had watched my infant days no mother had blessed me with smiles and caresses What was I? Through the combination of emotive language, a personal tone created through the personal pronoun I and a rhetorical question to question what constitutes humanity within a be, Shelley transcends the Gothic assort typically bestowed upon a monster to emphasise the monsters human longings for parental love and companionship.Hence, as the R omantic Movement and its fascination with the sublimity of nature, was being overcome by the strict rationality of the Age of Enlightenment, Shelley foreworns of the destruction of the immenseness of humanity, both in the natural world and in human emotions, as a result of rampant science and irresponsibility. Similarly, the more human than human portrayal of Roy in Blade Runner also highlights our mistreatment of scientific creations as artificial commodities, blurring the distinction between humans and products of artificial intelligence.In the final exam scene, Scott uses a close-up shot at Roys nailed hands, literally portraying him as a Christ-like figure, as he is enslaved and morally detached from humanity from the goals of employment. The condescending aphorism in Tyrells comment at Roys desperate cry for life, the light that ruin half as long, burns twice as bright alludes to the eternal light in Frankensteins Age of Reason and its effects on humanitys hack for the huma n consequences of its actions.Hence Roy asserts Ive seen things you people wouldnt believe, which reflects to the highest degree his personal, human pain and suffering as a result of the commoditised world. Furthermore, a close up of Roy, alongside the pure white background creates a cathartic moment as Roy becomes the fallen angel, magnanimously giving life to Deckard and instilling human qualities within him. It is through illustrating Roys sensitivity that Scott appropriates Shelleys dilemma of what constitutes humanity within any being, questioning the morals of the technology-dependent audience of the 1980s as they take scientific creations for granted.Hence later on suffering and succumbing to brutal dehumanisation, both Replicant and Beast have emotively evoked commiseration and senses of profound solemnity. Ultimately, both Frankenstein and Blade Runner are products of their cultural environment and forewarn us of the destructive potential of abusing science, illegitima tely playing the role of God and the values of humanity that degrade our morality and responsibility. More subliminally, however, each text embodies the moral limitations of being human through the oppressive nature of scientific and technological advancement.