Studynotes

The texts, Mary Shelley’s novel “Frankenstein” and the film “Blade Runner”, were composed more than 150 years apart; Both texts explore a dilemma that continues to be significant in the twenty-first century: the ethical and moral tension between the fear of humanity’s abuse of technology, because of our inherent flaws such as ambition, ego and greed – and the incredible potential for technology to extend life and even defy death which creates disruption to the natural progress of human life. Frankenstein reflects directly a disrupt state of chaos and uncertainty the context in which, Mary Shelley’s novel was written. It was in a state of flux, with humanity gaining more individual power and technological advances escalating. This is also apparent in Ridley Scott’s “Blade Runner”; however, the disturbing context of the 1980s has been projected forward to a dystopian world in 2019 of globalisation and advanced technology. The film “Blade Runner” reflects the growing awareness in the 1980s that human actions were threatening the well being of nature, and that the rights and needs of individuals were being overshadowed by the loss of identity, the greedy pursuit of profit, and human integrity. The extinction of many natural species, the threat of acid rain, global warming, and the pollution of once pristine environments were suddenly making headlines in the media. “Blade Runner”, like “Frankenstein”, is a hybrid text, blending the science-fiction and hard-boiled detective genres to create what has been referred to as tech noir. Both genres have their roots in the Western genre, which features a lone individual – a flawed but heroic outsider with a strong moral code fighting for justice against the corrupt forces of society. In representing the worlds of “Frankenstein” and “Blade Runner”, both Shelley and Scott have used light and dark to a similar but significant effect. The increasing darkness symbolically suggests the escalating dangers of misusing the technology without considering the consequences on humanity and morality. Shelley creates a setting of contrasts of light and warmth against cold and darkness. In terms of film techniques, voice and dialogue are sparse in “Blade Runner”. The images that are shot through a wide-angled lens dominate many frames and drive how humanity has become disconnected and inhuman. The film-noir style of “Blade Runner” is pervasive. Incessant rain and chiaroscuro lighting create a cold, threatening city. To build tension, the signature use of the film-noir style is evident in “Blade Runner”, where the lengthening shadows and the blue-tinted lighting signify doubt, corruption and humanity’s flaws. While the setting of Frankenstein still has moments of great beauty and striking descriptions of the natural world, the universe we see in Blade Runner is more than 150 years later which has become the world that Frankenstein feared would come about if he created a female partner for his monster: ... A race of devils would be propagated upon the earth, who might make the very existence the species of man a condition precarious and full of terror (p. 207) “Blade Runner” then becomes as an “extension” of disruption prophesied in “Frankenstein”. Both of the ‘creators’ in “Frankenstein” and “Blade Runner” are unsuited to their roles. Victor Frankenstein and Eldon Tyrell lack insight, humility and empathy. They are egocentric and indifferent to the needs and feelings of their creations. In “Frankenstein” Shelley explores the mental anguish of her creator, Victor Frankenstein, whose ego, self-delusion and obsession with immortality cause tragedy and suffering. He develops a fascination with the possibility of creating life when he reads about the experiments of alchemist. Frankenstein’s inexorable desire to create life leads to a self-imposed exile, he abandons his family and his values of honesty and integrity, but he does come to realise the tragic disruption of his ambitions. Learn of me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge and how happier that man is who believes his native town to be the world, than he who aspires to become greater that his nature will allow. (p.54) Similarly, Dr Eldon Tyrell, the creator of the replicants in “Blade Runner”, is blind to the needs and feelings of his creations. Technological advances and economic demand for perfection mean that Tyrell creates creatures that are attractive and possess intellect and strength. He is not horrified by his creations as Frankenstein is; rather, he delights in his own handiwork. Yet, his treatment of them is as cruel as Frankenstein’s rejection of his monster. They are commodity that can be sold and disposed of without compunction which causes a loss of identity. Tyrell cannot conceive why they would expect to live beyond their predetermined life span of four years. In “Frankenstein”, the monster is represented sympathetically as being intelligent and sensitive, but his experiences with humanity transform him into a dark creature. In “Blade Runner”, the opposite occurs. When we first meet the replicants, they are cast in the role of villain, yet as the film unfolds we develop empathy for their plight as they become more human, and establish their own identity. Despite their terrible deeds we realise that their actions were a product of the cruelty of their creator. Roy, the highly intelligent leader of the replicants, invites our interest and understanding. Ridley Scott crafts a character whose stark white hair, cold blue eyes and cultured measured voice single him out as being different. His confrontation with his maker is similar to the monster’s request to Frankenstein about making a female partner. Both entreaties fail. Tyrell explains in the scene in his apartment where Roy confronts his creator that this is impossible: “To make an alteration in the evolvement of an organic life system is fatal”. Frankenstein initially promises to create another monster but cannot go through with it: “... trembling with passion, I tore to pieces the thing on which I was engaged’. (pg 207) Roy Batty in “Blade Runner” begins as a fallen angel and rises symbolically on his death as a dove to heaven, but Frankenstein’s monster, who emerges as Adam, becomes the fallen angel hell bent on revenge and retribution. Unlike the monster, the replicants have been designed to be perfect and powerful, and it is almost impossible to see the difference between a replicant and a human. Yet, both composes have created creatures that evoke our sympathy and our empathy. In a scene of confrontation between Deckard and Roy reminiscent of a Western shoot-out, Roy reveals his ‘humanity’ and integrity. Roy drains the last vestiges of his own life to save Deckard and delivers, while holding the white dove of peace in his hands, an eloquent and moving soliloquy before he dies: I’ve seen things you people wouldn’t believe... all those moments will be lost in time like tears in rain. Time to die. The dove is released symbolically into a blue, clear sky devoid of smog or acid rain. To reinforce the blindness of humanity to the abuse of technology and science and the power of the Tyrell Corporation, a recurrent motif of eyes is featured in “Blade Runner” as a representation of identity or as a reflection to beauty in contrast with disruption. The establishing sequence of the film includes an extreme close-up of an eye that reflects the cityscape. The Bradbury building has large, blue semi-orbs that resemble eyes, and the eyes of the fake owl, Tyrell wears overly thick large glasses and Roy Batty sticks his thumbs in Tyrell’s eyes just before he kills him. Ironically, Roy, whose eyes are artificial, states that he has seen ‘things you people wouldn’t believe’. Similarly to the monster in “Frankenstein”, Roy has witnessed the dark side of humanity and found humans to be flawed. The motif of eyes is also evidence in “Frankenstein”. Walton writes to his sisters about his desire for companionship and someone ‘whose eyes would reply to mine’ (p.8). The monster relays to Frankenstein how he has sighted much beauty in the world of nature and witnessed the cruelty of humanity. In promoting our understanding of identity and disruption, the monster in “Frankenstein” develops the very human qualities of compassion and kindness, and he grows intellectually and morally from reading the classics. He longs for family and friends but as he develops intellectually and encounters humanity, he is confronted with the knowledge that he is utterly alone. With his philosophical reflections on the history of humanity and his acts of kindness, the monster conveys human traits that invite empathy and understanding. In contrast Frankenstein’s self indulgence and abrogation of his moral responsibility to his creation and his family induce frustration and, at times, disdain. In “Blade Runner”, the replicants look and act human, and they share humanity’s yearning for family and love, and the fear of death. When we come to the realisation that Deckard, the protagonist, could possibly be a replicant, the line between what it means to be human or not human is blurred. This confronting revelation raises issues of how our pursuit of experimenting with technology to prolong and create life could result in de-humanisation. He does possess some of the best human qualities, such as courage and compassion, but there are times when he is represented as a cool blooded killing machine. Our questions about Deckard’s identity are never answered, so we are left pondering what it means to be human.