Frankenstein

Texts composed from specific contexts provide insights into new paradigms corresponding to their historical, social and economic framework and as a result, composers incorporate and mould ideas within texts as a reflection of context. The capacity of thematic concerns to transcend time are manifested within Mary Shelley 's 19th century gothic novel 'Frankenstein ' (1818) and Ridley Scott 's dystopian science fiction film 'Blade Runner ' (1992) as both pose markedly similar existentialist discourses regarding the fate of humanity. Through 'Frankenstein ', Shelley 's romantic approach condemns humanity 's intrusive assumption as creator during an era where scientific hubris prompted people to abandon the metaphysical aspects of life, whereas Ridley Scott composes 'Blade Runner ' during the modern zeitgeist of consumerism and materialism as expressed by the contemporary mantra of 'greed is good '. Both texts resonate towards modern responders beyond their context through the analogous moral and ethical boundaries, along with the core concept of what makes one human, procuring both universal issues and insights into the fundamentals of human behaviour.
Composed during the industrial revolution and a time of scientific experimentation, Shelley typifies Romanticism within Frankenstein, foreboding her enlightened society of playing God. Shelley composes Frankenstein as a gothic horror novel, illuminating the consequences of scientific misuse, further reinforced by the genre 's reflection of society 's notion that anything was possible, a concept emitted from the emerging industrial revolution and scientific advancements. Manifested within the intertextual allusion in its alternative name, "The Modern Prometheus", is Victor Frankenstein 's act of overstepping man 's natural boundaries, as the hubris of his pseudo god status results in the morally flawed galvanism and reanimation of the dead. Frankenstein 's unmitigated pursuit of knowledge in his search for the