Context in Frankenstein and Blade Runner, and How This Affects Their Composition and Ideas
Frankenstein and Blade Runner Essay
The context of the time of writing is an integral part of a text’s composition and ideas. This notion is evident in Mary Shelley’s Frankenstein (1818) and Ridley Scott’s 1982 science fiction film, Blade Runner. They both address ideas contemporary at the time, but are both interconnected through a common questioning of what may happen if humans attempt to play god. As a romanticist, Shelley condemns Frankenstein’s intrusive attempt to play the creator. Scott spurns man’s ruthless ambition through a dystopian environment created through ruthless quest for profit by commercially dominant, greedy corporations. Both texts employ techniques such as allusion and characterisation to depict similar dystopian visions ensuing from man’s dereliction of nature.
Composed during the Industrial Revolution at a time of increased scientific experimentation, Shelley warns and forebodes her enlightened society of the consequences which come about from playing god. She uses Victor Frankenstein as her platform, whose self-exalting line “many excellent natures would owe their being to me” represents a society engrossed with reanimation. Recurring mythical allusions to Prometheus, “how dangerous is the acquirement of knowledge” portray Victor as a tragic hero; a noble character whose “fatal flaw” of blind ambition ultimately results in his own downfall and dehumanization, “swallowed up every habit of my nature”. In addition, Victor’s impulsive rejection of his grotesque creation, leads to the Monster’s rebellion (“vowed eternal hated and vengeance to all mankind”).
Despite the mismatch in time and context, Scott also incorporates similar elements of horror, but procures a man-made cataclysm that is a product of his own desire to achieve commercial dominance. Unlike Shelley’s moralistic warning, the flames in the opening scene highlight a dystopian world that has already reached an undesirable outcome. Revising Victor’s undermining of God’s
The context of the time of writing is an integral part of a text’s composition and ideas. This notion is evident in Mary Shelley’s Frankenstein (1818) and Ridley Scott’s 1982 science fiction film, Blade Runner. They both address ideas contemporary at the time, but are both interconnected through a common questioning of what may happen if humans attempt to play god. As a romanticist, Shelley condemns Frankenstein’s intrusive attempt to play the creator. Scott spurns man’s ruthless ambition through a dystopian environment created through ruthless quest for profit by commercially dominant, greedy corporations. Both texts employ techniques such as allusion and characterisation to depict similar dystopian visions ensuing from man’s dereliction of nature.
Composed during the Industrial Revolution at a time of increased scientific experimentation, Shelley warns and forebodes her enlightened society of the consequences which come about from playing god. She uses Victor Frankenstein as her platform, whose self-exalting line “many excellent natures would owe their being to me” represents a society engrossed with reanimation. Recurring mythical allusions to Prometheus, “how dangerous is the acquirement of knowledge” portray Victor as a tragic hero; a noble character whose “fatal flaw” of blind ambition ultimately results in his own downfall and dehumanization, “swallowed up every habit of my nature”. In addition, Victor’s impulsive rejection of his grotesque creation, leads to the Monster’s rebellion (“vowed eternal hated and vengeance to all mankind”).
Despite the mismatch in time and context, Scott also incorporates similar elements of horror, but procures a man-made cataclysm that is a product of his own desire to achieve commercial dominance. Unlike Shelley’s moralistic warning, the flames in the opening scene highlight a dystopian world that has already reached an undesirable outcome. Revising Victor’s undermining of God’s