Blade Runner illustrates the hunger of mankind to defy the boundaries of humane principle and concepts of the natural environment. The film ironically depicts the genetically engineered replicants with more humanity and emotions than biological humans themselves. Blade Runner filmed in 1982 at a time of consumerism, flux of migration and global de-stabilisation, discontent and mutiny was a prime problem in society. Scott further ellaborates this idea of a sociocultural world, whereby lack of responsibility has resulted in the economic rationalism and consumerism phenomena. It is a monstrous, malformed world filled with fires and acid rain, constructed with dehumanised, sterile buildings. Habitants of the streets appear to lack any sort of connection or community with one another; even all animals have become almost extinct as a result of selfishness of humanity. The setting of environmental catastrophe and urban overcrowding, of an aural and visual landscape filled with advertising, of a population of polyglot cultures competing in a babel of moral decay and homelessness, of achievements in technology and decadence has been conceived by many people as prescient. Above, in the polluted airways, a blimp broadcasts a new life in the ‘off-world colonies’. The injustice of society is epitomised by the towering immensity of the Tyrell building. It is a grandiose Mayan-style pyramid structure with strong vertical and horizontal lines to flatten society streets beneath into unimportance while the people below in the city live in squalid conditions. Tyrell lets his obsession with creation overpower him and consequently scientific advancements have destructed the human environment and the natural. Humans have had to flee the planet as the result of the ecological ruins. This world is an outcome of a society so consumed by corporate culture that it ceases to any longer consider the importance of humankind and puts science at the foremost.
The symbolic interactionism and social constructionism with animals evokes discussion that bound animals as dogs are “man’s best friend” and “you can always tell the type of person someone is from how they treat their animals”. In the film humans exploit animals as they are kept in cages and used for commercial purposes. The only associations we see with animals are through the replicants and yet the major focus in the film surrounds the nature of humanity. If animals are the only indication of any type of humanity then it is obvious that humanity has been lost in this society. Blade Runner delves into the matters of individual freedom and alienation so that we can explore a world in where freedom and rights has been relinquished by a politically incorrect system that capitalise on humans and humanoids. In this society, replicants are materials that are easily disposed of through “retirement”, and their condition of a four-year life span gives reason for Batty’s alert of his approaching death and his oppressively constant search for solutions to live longer.
The theme of social dehumanisation has been emphasised as Deckard; part of the blade runner unit is actually a replicant himself. In the film he seems to be the only person with any kind of conscience. If Deckard is a replicant, it shows the lack socially moral human beings left in this world.
In this society, the politics of science, globalisation and economics dominate, and science and commerce have developed into a dictatorship that exchanges freedom for slavery as humanity is restrained from seeking independence and from understanding reality. In this moral climate, everything is seen as a power struggle between the master morality of humans and the slave morality of the replicants.
The idea of systems forms the core of cybernetic thinking. Elden Tyrell is the Godlike creator of replicants. His corporation’s monolithic pyramid overshadows the monstrous ethics of his corporation. With immortal themes of cheating...
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