Context in Frankenstein and Blade Runner, and How This Impacts Their Structure and Ideas
Frankenstein and Blade Runner Essay The context of the time of composing is an integral part of a text’s composition and ideas. This idea appears in Mary Shelley’s Frankenstein (1818) and Ridley Scott’s 1982 science fiction film, Blade Runner. They both address concepts contemporary at the time, however are both interconnected through a typical questioning of what may occur if people try to play god. As a romanticist, Shelley condemns Frankenstein’s invasive attempt to play the developer.
Scott spurns guy’s ruthless ambition through a dystopian environment developed through ruthless quest for revenue by commercially dominant, greedy corporations. Both texts use strategies such as allusion and characterisation to illustrate comparable dystopian visions occurring from guy’s dereliction of nature. Made up throughout the Industrial Transformation at a time of increased clinical experimentation, Shelley cautions and forebodes her informed society of the effects which happen from playing god.
She utilizes Victor Frankenstein as her platform, whose self-exalting line “many exceptional natures would owe their being to me” represents a society immersed with reanimation. Recurring mythical allusions to Prometheus, “how harmful is the acquirement of knowledge” depict Victor as a terrible hero; a noble character whose “fatal flaw” of blind aspiration eventually leads to his own downfall and dehumanization, “engulfed every routine of my nature”. In addition, Victor’s impulsive rejection of his grotesque development, causes the Beast’s disobedience (“promised eternal hated and revenge to all mankind”).
Regardless of the inequality in time and context, Scott likewise incorporates similar aspects of horror, but obtains a manufactured cataclysm that is an item of his own desire to accomplish commercial dominance. Unlike Shelley’s moralistic caution, the flames in the opening scene highlight a dystopian world that has currently reached an unfavorable outcome. Revising Victor’s weakening of God’s prerogative, Scott conveys Tyrell’s capitalist fixation through his mantra “commerce is our goal”. The composer strengthens this through multiple low angle shot of Tyrell’s monolithic corporation, highlighting its command over its depressing urban environments.
By doing so, Scott knocks the arrogance of corporate giants and their careless disregard for the proletarians. Moreover, Scott’s reflection of a society engulfed within Cold-war paranoia of a potential nuclear catastrophe is illustrated through Tyrell’s violent death at the hands of his own production, Batty. Here, Tyrell’s scream as Roy bursts his myopia-riddled eyes, a metaphor of his blind ambition, produces an ambience of utmost horror as responders interpret how man’s hubristic desire to accomplish utmost power results in his damage.
However, unlike Shelley’s critique of heedless scientific pursuit, Scott’s viewpoint has moved to that of guy’s capitalist voracity and is a reflection upon the 20th century’s quick growth of international corporations. In contrast to Shelley’s discourse, Scott’s symptom of a plain, industrialised world is his suspicion that technological development has currently discerned man’s divergence from nature.
In the movie’s opening series, Scott portrays his dystopian society through film-noir style of perpetual darkness, where the shallow world’s only source of lighting is from the glow of manufactured neon lights. Additionally, the composer’s representation of a world damaged by technological growth is symbolised through the absence of genuine fauna and their alternative with synthetic animals. However, in light of Shelley’s welcome of superb nature, Scott likewise communicates how the presence of nature can facilitate the hope of spiritual renewal; proposing its whole repair.
The composer signifies this through his transient but vibrant representation of Deckard’s fleeting unicorn dream. Contrary to Shelley, nevertheless, Scott’s depiction of nature within a subliminal dream is metaphorical of his belief that quick technological development has currently superseded the position of nature. Therefore the movie’s 20th century context incorporating fears eco-friendly degradation stimulates his admonition that quick technological development may already have made difficult a possible go back to nature.