Frankenstein and Bladerunner Essay

Frankenstein and Bladerunner Essay

A holistic understanding of a text can be just be pursued by the audience only when they are able to identify the intended values of the composer and resonate these worths with the time and context of the text. It appears that through a relative study of Mary Shelley’s 1818 novel Frankenstein together with Ridley Scott’s 1992 film Blade Runner, in spite of the one hundred year gap in between the 2 texts, the worths each author wishes to provide to the audience echo the issues of humanity and its vulnerability versus themselves.

Frankenstein checks out how humankind’s obsession with scientific and medical developments in the 19th Century while Blade Runner checks out the social vales of consumerism and commercialism in the 20th Century. Obviously, it is clear through the contrast of the texts as to how the social values of each society bring detrimental outcomes for mankind. A theme that is seen in Frankenstein is the threat of unrestrained clinical development and production, a style most apparent when Frankenstein bestows the “stimulate of life” upon his animal in his effort to “pour a gush of light into our dark world”.

Here Shelley alludes to the sciences of the duration of enlightenment or in particular, Galvanism which held the belief that corpses could be reanimated through an electrical current, or “trigger”. The characterization of Frankenstein serves to signify the desire of humankind to be able to produce and manage aspects of life which were limited to god. This ends up being clearer as Frankenstein states, “A new species would bless me as its developer and source; lots of happy and exceptional natures would owe their being to me. Here, Shelley utilizes a listing of detailed language which embeds positive connotations in order to portray the ignorant hopes of mankind’s desire to develop and manage life and nature. As the plot unfolds, it ends up being evident that this desire just leads to false hopes as Frankenstein’s production states, “You are my creator, however I am your master; comply with! “. Here, the paradoxical statement by the development is indicative of how humanity’s desires will eventually backfire when the power to produce and manage is unattended and mistreated.

Ultimately, the monster is responsible for the death of lots of partners of Frankenstein in addition to Frankenstein himself which shows the supreme backfire of scientific advances on mankind. Scott’s Bladerunner acknowledges the same defects within humanity as Mary Shelly’s Frankenstein. He depicts a world where humanity’s appetite for power, control and technological advances eventually leads to their failure. In the opening scene, Scott depicts the controling figure of Tyrell’s structure through the use of a scenic shot, where the large and tall structure juxtaposes with the other structures of the society.

In order to offer more focus on Tyrell’s building, a dolly shot is utilized and together with spooky background music, the director produces a mysterious atmosphere worrying Tyrell’s practices. Tyrell’s business alludes to the increase of commercialism and consumerism in the twentieth century, where this cause big multinational corporations being one of the dominant forces of globalization. This can be witnessed in the low angle shot of the high increase structures, which embed Coca Soda pop and Pan Am Airlines ads through neon lighting.

The forces of globalization can be further acknowledged with the asian background music which accompanies the advertisements together with a follow up mid shot depicting a large screen with a Japanese geisha dominating the screen. This mentions the dominant Asian culture in LA alludes to the aggressive Asian Tiger Economics of the late 20th century, where the extreme increase of Asian nations such as Japan and China was seen.

For this reason, by blending these notions of social values with the dystopian representation of LA, where the continuous rainfall and the lack of sunshine suggests the destruction of nature and its endowments, Scott is foreshadowing a society which humankind has eventually destroyed with their own hands. When the responders comprehend the contextual impact on the 2 texts, the responders are then able to comprehend the core concept of both texts– mankind’s neglect in their power. Both texts indicate the self-destructive nature of humanity’s empowerment to which responders can reflect upon in correlation with their modern society.

Firstly, Frankenstein represents how the ambition to redefine human restrictions through production is bound to lead to failure, and appropriately produce something monstrous. Frankenstein’s Animal is the very personification of the monstrosity that people can producing. The symbolism of light in, “until from the midst of this darkness an abrupt light broke in upon me” conveys Victor’s instinctive awakening to the possibility of creating a best being resistant to illness. The contrast between the ‘darkness’ and ‘light’ hints the didactic function which Shelley attempts to convey to her responders.

Such a taboo act of trespassing the domain of the divine providence signifies the start of Frankenstein’s blindness. Frankenstein fasts to realize that he has actually produced a monster, as shown by the regretful tone in, “I beheld the rascal– the unpleasant monster whom I had actually created.” This illustrates that untamed human aspiration can cause the unintended creation of the ‘grotesque’ and through this, Shelly is mentioning the ideology that production is the work of God and must not be attempted by humanity. Blade Runner analyzes this notion of the negligence of humankind’s empowerment on a much broader scale than Frankenstein.

This is attained by illustrating the harmful repercussions of humanity’s abuse of power upon a whole nation. Frankenstein was a forewarning of the risks of human ambition of that context, but Bladerunner portrays the after-effects of the overambitious quest for understanding in the future if the abuse of power can not be contained by illustrating a dystopian world. Appropriately, the people in this alternate future seem artificial and lacking humanity other than for the lead character Deckard. Deckard is the main voice of the director, where Scott portrays his concepts on how humanity must be enduring the actions of Deckard.

In Bladerunner, Deckard is a character who distances himself from the social standard of technology and the stiff structure of society. He is indicative of the standard ‘human’ who responds mentally and participates in conventional human actions. Although this notion is strongly evidenced towards the end of the movie, the director foreshadows Deckard’s humanitarian characteristics from the start of the movie. The idea of Deckard holding human qualities can be seen in the scene when Deckard is reading the newspaper. A dolly shot is made use of by Scott in order to catch the setting of the city and slowly focus on Deckard.

Through this shot, the responders acknowledge the strong juxtaposition in between the social worths and Deckard. Deckard reads the conventional ‘paper’, whilst in the background, numerous television screens showing the news can be seen. This contrast in result highlights that Deckard abides by the more ‘traditional’ conventions of humanity and through his heroic representation, it ends up being obvious that Scott wants to address that in order for humanity to make it through, it will require us to limit ourselves from being too consumed with social cults and conventions which conjure up control, production and power.

In order to satisfy an understanding of a text, responders need to recognize and comprehend the true intentions of the author. When both Frankenstein and Blade Runner read on parallel, although their contexts are various, the troublesome problems resonate with each other and furthermore, responders can also show that these texts induces the responders to reflect on the modern society to comprehend that the social worths of our time, although they may appear requirement may remain in fact damaging for mankind.

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