Relative Study of Frankenstein and Blade Runner
Shelley’s Romantic unique Frankenstein (1818) compares and reflects values of mankind and the repercussions of our Promethean aspiration versus the futuristic, developed world of Blade Runner (1992) by Ridley Scott. The notions of unbridled clinical development and technological progress resonate with our desire to raise mankind’s state of being, mirrored among the destructive aspiration to surpass and disrupt nature and its processes.
The disastrous implications of overreaching the boundary between progressive and harmful power and understanding are heeded through the supreme and unavoidable loss of self and identity, transforming mankind into a type of monstrosity. Shelley heeds the devastating thirst for knowledge in the pursuit of supremacy, foreshadowing the ethical ramifications as an outcome of this abnormal intervention and interruption of both the physical nature and the natural spiritual self.
The Promethean aspiration possessed by guy eventually causes loss of the essence of humankind in an attempt to take over the natural order of the world. The undertone of the subtitle, “Modern Prometheus” foreshadows the divine retribution and effects Victor Frankenstein has actually wrought upon himself in his compulsive mission for understanding and power. His God-like disobedience versus nature through his ‘ardent desire for acquisition for understanding’ lets loose a cycle of disaster leading ultimately to his mortal downfall of psychological and mental illness.
Shelley additionally emphasises the ruthlessness of mankind when conscience and ethical obligation are abandoned through the symbolic production of the Monster as the very condemnation of unchecked industrialized ‘development’. The juxtaposition of the classical Promethean misconception with the dystopic realm Victor Frankenstein has produced is highlighted through the rejection of the Monster as ‘out of breath scary and disgust filled [his] heart’, further underlining the ethical irresponsibility Frankenstein has revealed towards his own production.
The foreshadowing of the loss of humankind and spiritual well being is connotated through the sensations of ‘misery, scary and remorse’, suggesting the ‘desolate’ state he is left in due to his own lack of morality. The ultimate effects of Promethean aspiration are identified through Victor and Walton, who parallels Victor, yet is able to turn from the ‘envigorating draught’ of supremacy and unchecked ambition. This juxtaposition of character strengthens the significance of moral responsibility, as Shelley eventually buffoons the hateful bond between Frankenstein and his child, the Beast.
The extreme effects of interrupting nature and forfeiting moral conscience are conveyed, connoting the inevitable demise due to loss of self and identity. Contrastingly, the contemporary, highly driven world of Blade Runner communicates guy’s usurption of nature triggered through his arrogance and desire for supremacy. In this contrastingly industrialized, scientifically grounded world, nature has been relentlessly made use of and commodified, as guy has actually attempted to ‘permeate into the recesses’.
The allusion to the Promethean misconception through the symbolic use of fire is seen in the opening scenes of shooting fire, intercut with close up shots of an eye, symbolically representing fire as having the possible to both support and destroy life. The ignorance and metaphorical blindness of male, is highlighted through the self-imposed destruction of mankind, as nature is obliterated in favour of ‘commerce (being our) goal”, symbolically representing the destruction of our natural and untainted spiritual selves.
A sense of paranoia and foreshadowing is additional connoted through the close up shots of the eye, as Ridley enforces the seriousness of rectifying mankind’s destructive effects on both self and world through juxtaposition of the movie noir and science fiction genres. The absence of moral responsibility towards developments is when again reflected in the film through the irony of ‘lots of space here (Earth)’ sublimely indicating the lack of ‘room’ for the Replicants.
The barrier in between creator and production is furthermore underlined through the symbolic divide in the table between Leon and Holden, as well the juxtaposition between costume, connoting a sense of unjust inability and superiority. The low angle of shot of the Tyrell Corporation developing further highlights the absence of equality in this hierarchal, industrially based world. The synthetic nature of our world is heightened through the ironic prominence of the Tyrell building in contrast with Frankenstein’s secret laboratory where his ‘cheek had actually grown pale with work”.
The concept of a consumerist world is emphasised through the flashing signboards, synthesized music and the inescapable technologically based environments, highlighting the decay of mankind, and our superficial and hedonistic worths, using dark combination lighting to metaphorically represent our innate human condition. The absence of spirituality and distinct uniqueness in this consumerist world is depicted as a repercussion of humankind’s overreaching ambition to disrupt the order of nature and our natural spiritual selves, eventually resulting in the distortion of identity.
In Frankenstein, the distortion of a humane identity assists in the devastating transformation into a form of monstrosity, stressing the Romanticist’s belief of having spirituality in order to truly obtain ‘humanity’. The idea of the Monster as an extension of Frankenstein connotes the dark qualities imbibed within every person, yet Shelley suggests that it is ultimately ‘anguish that turns [us] into a fiend’. Frankenstein’s lack of individual relationships with both household and nature is juxtaposed versus the scenes of domesticity his family represents and his ‘more than sibling’, Elizabeth.
Moreover, his obstinate rejection to name the “Animal”, the “scum” or the Beast advance this idea of problem, abandoning his ‘kid’, and rejecting it a possibility of identity, nurturing and mankind, showing the commercial value of mass production and lack of connection in between developer and creation of the 19th century context. Ironically, the inversion of functions and power cement Frankenstein’s change into a beast and ‘servant’, highlighting the significance of gentle qualities in order to comprehend and appreciate our humankind.
The pain experienced by the Monster stimulates sympathy, instead highlighting social monstrosity as we ‘dare to sport thus with life’. This might be contrasted versus Victor’s self-imposed alienation, causing his loss of ‘all soul’ and humanity. The twisted biblical allusion of ‘demonic corpse’ stresses his ostracism from society due to his outwardly ‘fiendish’ looks, changing his when humane heart to one filled with ‘scary and hatred’.
The ultimate isolation of both Frankenstein and the Beast ironically indicate the requirement for humane qualities and the need for natural loving relationships in order to sate our natural desire for companionship and a wholistic presence. Blade Runner emphasises the significance of psychological and spiritual understanding and compassionate reasoning in shaping a special identity which is crucial to defining a private as humane in a largely consumerist society.
The inevitable change into a monstrous being because of the lack of identity, relationships and emotional intelligence is echoed within the movie, questioning the borders between human and replicants. Scott recommends that it is the acts we perform ultimately determine us as humane or monstrous beings, through the juxtaposition of character between Roy and Deckard. The ironic biblical allusion to the notion of sacrifice made by Roy in order to save Deckard and redeem himself as a humane being is comparable to the beast’s sorrow and desperation for his creator’s forgiveness.
The close-up shot of Roy’s nail driven hand stresses his humankind, whilst highlighting Deckard’s lack of compassion and continued distrust. Roy’s innocence is further connoted through the symbolic dove in a low angle shot, as he transcends beyond the mortal borders of the world, strengthening the at first ironic notion of ‘more human than human’. Scott juxtaposes these noble and humane actions versus the ruthless and cowardly actions of Zhora as he hunts her like an animal his prey. The frantic scenes of flashing lights, thick background sound and over congested streets emphasise her vulnerability compared to the ignorant, vicious people.
Furthermore, the extended metaphor of pictures represents the Replicant’s desire connection to their heritage, past and humankind which is contrasted versus the 2019 world filled with social isolation and spiritual depravation. This lack of connection is represented on an individual level with Rachel and Deckard, as opposed the ironic intimacy in between Roy and Pris, and even the Creature’s desire for a female buddy, highlighting the loss of a fundamental humane characteristic within this consumerist, monetary and power driven society.
Scott communicates the requirement to search for an identity and serve as ethical individuals in order to specify ourselves as not just human, however more considerably, humane. An expanded point of view of humankind and our function within the natural world is gotten through the relative study of Frankenstein and Blade Runner. In order to obtain a sense of identity and autonomy, we should try to achieve a balance in between progressive knowledge and aspiration, rather than the devastating repercussions of pursuing undisputed power to raise humanity to a state of supremacy.