Blade Runner Dystopian

829 Words4 Pages
Ridley’s Scott’s, Blade Runner (1992, directors cut) is an embodiment of the science fiction genre with its ability to present a visual prophesy of humanities unchecked scientific progress, whilst subsequently revealing the frailness of human society. The film depicts a dystopian future consumed by technology, consumerism and the virtual elimination of the natural world. Inspired by the Cold War anxieties and the global economic rationale pioneered by Thatcher and Reagan. Scott imaginatively reflects the social concerns of this contemporary period, by creating a formidable impression of a world swallowed up by decadence along with the subversion of humanity. This cautionary tale affords the perfect opportunity to explore the science fiction…show more content…
Stableford (2006, p.32) reinforces the notion that “true” science fiction has its roots implanted into an imaginary world based on logic and feasibility, which is derived from an interpreted reality of contemporary science. The film conveys a dystopian future that exhibits a level of plausibility by drawing upon the moralistic concerns of scientific advancement of the contemporary period, and thus, distinguishing the text from fictional fantasy. Scott’s film depicts humanities rise to the summit of self-creation, driven by an everlasting hunger and the need to satisfy this overdriven ambition for gain of scientific knowledge, without any thought for the final consequences both to the individual and society. Tyrell becomes the epitome of unrestrained scientific progress with his desire to become the ultimate creator of life, transgressing the boundaries of scientific and biblical decencies. The pompous statement “I know what it is like to be God”, clearly shows he has placed himself above all life and his vanity has reached new heights. Ridley cinematically conveys such notion with the presentation of the Tyrell building in the wide angle shot as a glowing beacon of light, symbolising a torch of life, the centre of creation. By using the visual motifs, it affords the most significance in maintaining the style of the science fiction genre. Bukatman (1997, p.9) proports that Scott has understood that science fiction films are often exemplified by their “visual organization”. This particularly applies to the mise-en-scène of Blade Runner, which highlights the cesspool of the post-industrial world, through its constant dim lighting being juxtaposed by the artificial light of commercialism. Additionally, the way the camera pans through the gloomy urban maze creates a scene of bleakness and emphasises a sense of claustrophobia. Conversely,
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