Frankenstein And Bladerunner Analysis

Through the parallels between Ridley Scott’s Bladerunner and Shelley’s Frankenstein, a responder is able to develop a deeper appreciation of the issues of disruption and identity. The century difference in context determines how the issues surrounding scientific experimentation and human identity are expressed within the texts and how they were received by responders of their time.
Shelley’s ‘Frankenstein’ explores a deeper understanding of disruption through questioning the morality and consequences of creating human life. Written in 1818, Shelley both reflects and foresees the dangers scientific exploration could bring if it advanced too far. This period of scientific advancement (seen through Darwin and Galvini) is mimicked through her
The futuristic setting of Los Angeles 2019, reveals a dystopian view of society through noir techniques, which are used initially in the opening scene. Similar to ‘Frankentstein’, Scott suggests the consequences of genetic engineering (IVF, cloning, hybrids). The power of Asian corporations and the consequences of Vietnam War and WW2 are also alluded to in the opening scenes. Like Shelley, Scott uses biblical allusions highlighting the disruption resulting from the egotistical hubris of Tyrell. Scott’s use of long shots on Tyrell’s towering temple like ziggurat and chessboard, suggest his omnipotence. His white clothing is juxtaposed against the dull noir society. In a similar way the final scene with Roy Batty silhouetted in lights, emphaisises his power. Both God like depictions are underpinned by irony as the bright DK logo shows the all encompassing consumerist society destroying the natural world. The character of JF Sebastian can be seen to parallel that of Walton in ‘Frankenstein’, acting as a foil to the hubris. Sebastian shows an acceptable alternative as his harmless creation doesn’t cause disruption due to his good intentions, “I make friends. They’re toys, my friends are toys. I make them”. Scott’s perception and understanding of disruption parallels that of Shelley in cautioning the responders of the danger associated with creating life and unbridled scientific
To Tyrell, the ‘skin jobs’ are merely material possessions, Rachael as the ‘experiment’, Roy as the ‘prize’. In contrast to Frankenstein’, society looks towards the emotional dimension (empathy and memories), rather than physicality to determine identity, which is suggested in Gaff’s origami. This contrast between the two texts reflects their context as technology and scientific development are so well developed that the difference between human and replicant is increasingly indistinguishable. Tyrell’s motto ‘More human than human’ confidently reflects the notion that in both texts the ‘created’ ironically become more human than the humans themselves. This is presented by the composer in Roy’s emotional response to Pris’ death, his rejection of Tyrell and in the final scene with Deckard where he expresses self understanding and altruism – the highest human accomplishments. Both texts explore the notion of exclusion as a result of identity, which leads to disruption within