Changing_Values_of_Science_in_Frankenstein_and_Bladerunner

Analyse the ways in which a comparative study of Frankenstein and Blade Runner reveals the changing and/or maintaining of values and perspectives involving mankind’s inter-relationship with science and technology. Frankenstein by Mary Shelley and the film Blade Runner directed by Ridley Scott both provide detailed insights into how the nature of the human inter-relationship with science and technology has both similarities and differences when compared between a nineteenth century perspective and a modern one. The complex nature of similarity and divergence is displayed through the use and abuse of science in both texts, with the noble but lingeringly egotistical aims of Frankenstein compared with the capitalistic and commerce-driven ones displayed in Blade Runner. This is contrasted strongly however with the blatant replacement of religion, nature and the sublime with a manmade world scape dominated by science, pollution and artificiality. The seventeenth and eighteenth centuries saw a time of startling breakthroughs in science and technology and a growing faith in the power of science to improve human life. The increased acceptance and growth of science and learning and the sheer number of breakthroughs of things never thought possible led to this period becoming known as the Age of Enlightenment. It is from this context that Frankenstein receives much of its influence in its initial portrayal as science as an avenue of human betterment; an untapped source with the power to solve the world’s problems. This is first depicted through the opinions and aspirations of Robert Walton with his glorification of science, “I may discover the wondrous power that attracts the needle, and may regulate a thousand celestial observations”. The hyperbole and heavenly references all serve to accentuate the power and importance that science is shown to have. Egotism is also displayed however, “do I not deserve to accomplish some great purpose…I preferred glory to every enticement that wealth placed in my path”. In particular Frankenstein’s decision to create new life shows how the context of the Enlightenment influenced Shelley to write in this way, with Frankenstein saying “I will pioneer a new way…and unfold to the world the deepest mysteries of creation”. The use of “I” and “world” again highlights how the desire to improve humankind is balanced by a personal craving for glory and fame. Shelley uses the novel as a warning to the attitude of having to be the first to do new things, always be pushing the limits, through the character of Frankenstein. He shares Walton’s thirst for discovery, “the world to me was a secret which I desired to divine”, and the more hidden thirst for exaltation, “wealth was an inferior object, but what glory would attend the discovery, if I could banish sickness from the human frame”. The repeated references to wealth show both men’s true scientific intentions-the acquisition of power and glory, disguised under the improving all mankind. Thus it can be seen that Frankenstein gives a portrayal of science thoroughly influenced by the contextual issues of the Enlightenment Period with, however, the cynically cautious tone of Shelley reminding mankind to not put ourselves in danger merely to satisfy our egos. For most of the twentieth century terrible wars had been fought at the cost of millions of lives. These wars were powered, armed and funded by modern science. Blade Runner displays this thoroughly negative view of the influence of science on mankind. The opening scene of the film introduces the audience to the grim reality that this excessive reliance on science has created. Extreme long shots, slow panning and repeated use of hellish fire gives an impression of demonic overpopulation, pollution and urbanisation. These issues were beginning to emerge as serious world problems in the 1980’s when Blade Runner was made, showing how contextual issues can shape the cinematography of a film. Buildings, artificial lights, pouring rain and advertising dominate the mise-en-scene, portraying the depressing image of overdependence on machines and excessive materialism and capitalism. In particular it is this context of rampant capitalism and materialism that shines throughout the film. Humans are shown to have sunk to the lowest level of moral corruption and depravity, the creation and subsequent exploitation of artificial life for material gain. The cruelty of this is accentuated by the ‘replicants’ being created able to think and be aware of their slavery, as well as their artificial four year life span. The ‘meeting the maker’ scene involving Roy Batic and Tyrell is a parallel to the meeting between Frankenstein and the creature, and is particularly illustrative of the differences between the morals of Frankenstein and Blade Runner. Frankenstein feels a sort of responsibility for the wellbeing of his creation, “I felt what the duties of a creator towards his creature were, and I ought to render him happy”, whereas the treatment of Roy with condescension and disdain by Tyrell highlights how he is seen as merely a commodity, despite being arguably “more human than human” himself. As such we can see how cinematography is used to portray the contextual issues of the time into the film Blade Runner, in particular how they fit into the use of science. The film shows a negative view of the over dependence on science and technology and displays the consequences of that. The language and style of Frankenstein are both deeply rooted in the Romantic genre, which lasted from the late 18th to mid-19th century. It glorified nature and the sublime and was in stark contrast to the rationality, reason and logic displayed in other areas of the Enlightenment period. All three of the ‘frames’ of Frankenstein contain powerful Romantic references, indeed the only point in the story nature is not eluded to is the process of creating the creature in Frankenstein’s laboratory- an early warning to scientists and the stem of the problems to come for Frankenstein. Robert Walton says in his letter, “the beauties of nature…seems still to have the power of elevating his soul from earth”, where the use of ‘soul’ empowers nature with a spiritual transcendence for the individual. When Frankenstein first witnesses his creation in the wild, the beauty and power of nature is contrasted against the horrific consequences of science taken too far, “the tempest, so beautiful yet terrific…this noble war elevated my spirits”, contrasted with “the wretch, the filthy daemon to whom I had given life”. The highly emotive and religious-laced language enhances at first the power of nature and sublime and then the disgust at the creation of unchecked science. Again the ‘meeting the maker’ scene is highly illustrative in showing the importance of the passion and emotions of nature. While wandering Mont Blanc, Frankenstein exclaims, “the sublime and magnificent scenes afforded me the greatest consolation I was capable of receiving”. He elaborates, “They congregated around me; the unstained snowy mountain-top, the glittering pinnacle, the pine woods, and ragged bare ravine; the eagle soaring amidst the clouds…and bade me be at peace”. The power of the sublime is emphasised through highly Romantic language and shown as capable of purifying and calming even a tortured soul like Frankenstein. As such, Frankenstein can be seen to hold powerful ties with the Romantic genre of the 19th century through its relentless description and glorification and nature and the sublime, a thoroughly positive image tainted only by the pollution of science- the creation of Frankenstein. Blade Runner in stark contrast positions the viewer from the opening sequence of the film within a hauntingly mechanized and non-natural future. The message of the film is clear- rampant and uncontrolled science and technology (stemming from Victor Frankenstein’s work) has resulted in the loss of all nature, religion or spirituality, replacing it with pollution, money and machines. The opening scenes of the film see the camera visually guide us towards the grandiose, temple-like Tyrell building. The irony of the buildings temple structure is that instead of an actual religious building it houses the source of everything that has destroyed nature, the sublime and spirituality in this world space. Extreme close ups on an eye reflecting plumes of fire demonstrate the alienation and lack of meaning this overdependence on science has created in the individual. This cinematography is strongly influenced by the contextual issues of the time, burgeoning worldwide pollution and population and dependence on materials and science to provide for humankind. It is in the Tyrell building that the ‘meeting the maker’ scene again demonstrates the differences between the world of Frankenstein and Blade Runner. An extreme long shot shows the meeting place as the mountainous structure, a clear parallel between the meeting between Victor and the creature at Mont Blanc. Any sort of sublime or peace Victor experienced prior to his meeting is impossible in Blade Runner however as the Tyrell Corporation does not exhibit the illusive, indefinable beauty of sublime nature, but rather embodies a synthetic artificiality. Therefore Blade Runner effectively demonstrates how an overdependence of science and technology results in a complete reversal of the world of Frankenstein, with all evidence of nature or spirituality completely removed and replaced with pollution and machinery, reflecting the contexts at the time it was made. In conclusion, both texts act as cautionary tales for science and its potential for damage- to the individual in Frankenstein and for the whole of society in Blade Runner. However, while it is portrayed as having the potential to solve all of mankind’s problems (from the context of the Enlightenment period) through the work of egotistical scientists in Frankenstein, science in Blade Runner is shown as the cause of all of humankind’s problems, and merely an avenue for exploitation and materialism (from the context of rampant pollution and materialism is the 1980’s). Whereas science in Frankenstein is dwarfed by the power of nature and the sublime Victor experiences with its Romantic ties, Scott portrays a future where the extreme dependence on science and technology has ruined and destroyed all forms of nature or spirituality leaving the world a cold and desolate place, reflected in the context again of pollution and scientific destruction the 20th century.