Blade Runner (End Title) - Various - Les Plus Grands Thèmes De Science-Fiction
Label: Editions Atlas - PSA 607 • Format: CD Compilation • Country: Belgium • Genre: Electronic, Stage & Screen • Style: Soundtrack, Score, Ambient
Despite the initial appearance of an action filmBlade Runner operates on an unusually rich number of dramatic levels. As with much of the cyberpunk genre, it owes a large debt to film noircontaining and exploring such conventions as the femme fatalea Chandleresque first-person narration in the Theatrical Version, the questionable moral outlook of the hero —extended here to include even the literal humanity of the hero, as well as the usual dark and shadowy cinematography.
It has been argued that Blade Runner thematically enfolds moral philosophy and philosophy of mind implications of the increasing human mastery of genetic engineeringwithin the context of classical Greek drama and its notions of hubris  —and linguistically, drawing on the poetry of William Blake and the Bible.
This is a theme subtly reiterated by the chess game between J. Sebastian and Tyrell based on the famous Immortal Game of symbolizing the struggle against mortality imposed by God.
The individual replicants pawns are attempting to become immortal a queen. At another level, the game between Tyrell and Sebastian represents Batty stalking Tyrell. Tyrell makes a Sweet Georgia Brown - Various - Puerto Rico Heineken Jazzfest 95 mistake in the chess game, and another fatal mistake trying to reason with Batty.
Blade Runner depicts a future whose fictional distance from present reality has grown sharply smaller as approaches. The film delves into the future implications of technology on the environment and society by reaching into the past using literature, religious symbolismclassical dramatic themes and film noir.
This tension between past, present and future is apparent in the retrofitted future of Blade Runnerwhich is high-tech and gleaming in places but elsewhere decayed and old. A high level of paranoia is present throughout the film with the visual manifestation of corporate power, omnipresent police, probing lights; and in the power over the individual represented particularly by genetic programming of the replicants. Control over the environment is seen Blade Runner (End Title) - Various - Les Plus Grands Thèmes De Science-Fiction a large scale but also with how animals are created as mere commodities.
This oppressive backdrop clarifies why many people are going to the off-world colonies, which clearly parallels the migration to the Americas. The popular s prediction of the United States being economically surpassed by Japan is reflected in the domination of Japanese culture and corporations in the advertising of LA The film also makes extensive use of eyes and manipulated images to call into question reality and our ability to perceive it.
This provides an atmosphere of uncertainty for Blade Runner's central theme of examining humanity. In order to discover replicants, a psychological test is used with a number of questions intended to provoke emotion; making it the essential indicator of someone's "humanity". The replicants are juxtaposed with human characters who are unempathetic, and while the replicants show passion and concern for one another, the mass of humanity on the streets is cold and impersonal.
The film goes so far as to put in doubt the nature of Rick Deckard and forces the audience to reevaluate what it means to be human. Eye symbolism appears repeatedly in Blade Runner and provides insight into themes and characters therein. The film opens with an extreme closeup of an eye which fills the screen reflecting the industrial landscape seen below. When reflecting one of the Tyrell Corp. In Roy's quest to "meet his maker" he seeks out Bemsha Swing - Various - For The Love Of Monk, a genetic designer of eyes, who created the eyes of the Nexus When told this, Roy quips, "Chew, if only you could see what I've seen with your eyes", ironic in that Roy's eyes are Chew's eyes since he created them, but it also emphasizes the importance of personal experience in the formation of self.
Roy and Leon then intimidate Chew with disembodied eyes and he tells them about J. It is symbolic that the man who designed replicant eyes shows the replicants the way to Tyrell.
Eyes are widely regarded as "windows to the soul ", eye contact being a facet of body language that unconsciously demonstrates intent and emotion and this is used to great effect in Blade Runner.
The Voight-Kampff test that determines if you are human measures the emotions, specifically empathy through various biological responses such as fluctuation of the pupil and involuntary dilation of the iris.
Tyrell's trifocal glasses are a reflection of his reliance on technology for his power and his myopic vision. Roy eye gouges Tyrell with his thumbs while killing him, a deeply intimate and brutal death that indicates judgement of Tyrell's soul. In some scenes, the glow in the pupils of replicants' eyes creates a sense of artificiality. This effect was produced by cinematographer Jordan Cronenweth shining a light along the optical axis of the camera. I was also trying to say that the eye is really the most important organ in the human body.
It's like a two-way mirror; the eye doesn't only see a lot, the eye gives away a lot. A glowing human retina seemed one way of stating that". The relationship between sight and memories is referenced several times in Blade Runner. Rachael's visual recollection of her memories, Leon's "precious photos", Roy's discussion with Chew and soliloquy at the end, "I've seen things you people wouldn't believe".
However, just as One 2 One - More Than Sum is the concept that what the eyes see and the resulting memories are not to be trusted.
This is a notion emphasized by Rachael's fabricated memories, Deckard's need to confirm a replicant based on more than appearance, and even the printout of Leon's photograph not matching the reality of the Esper visual. Also in the Director's Cut, when at the Tyrell corporation the owl's eye pupils glow with a red tint.
The red tint indicates that the owl is a replicant. There is a subtext of Christian allegory in Blade Runnerparticularly in regard to the Roy Batty character. Given the replicants' superhuman abilities, their identity as created beings by Tyrell and "fall from the heavens " off-world makes them analogous to fallen angels.
In this context, Roy Batty shares similarities with Lucifer as he prefers to "reign in hell" Earth rather than "serve in heaven". Nearing the end of his life, Roy creates a stigmata by driving a nail into his hand, and becomes a Christ -like figure by sacrificing himself for Deckard. Upon his death a dove appears to symbolise Roy's soul ascending Blade Runner (End Title) - Various - Les Plus Grands Thèmes De Science-Fiction Do It Now - The Mistakes - Live At The Caribbean heavens.
Zhora's gunshot wounds are both on her shoulder blades. The end result makes her look like an angel whose wings have been cut off. Zhora uses serpent that "once corrupted man" in her performance. A Nietzschean interpretation has also been argued for the film on several occasions.
For instance:. No aliens at all. But it isn't the L. Lots of things, moving through the background of the film, give us a powerful sense of being in a strange new place".
It is strongly implied that industrial pollution has adversely affected planet Earth's environment, i. Real animals are rare in the Blade Runner world.
In Philip K. This ties in with Deckard's comment about Dr. Tyrell's artificial owl: "It must be expensive. Given the many Asian peoples populating Los Angeles in A. When Sebastian remarks of his downtown building "No housing shortage around here The cultural and religious mixing can also be verified at Blade Runner (End Title) - Various - Les Plus Grands Thèmes De Science-Fiction scene where Deckard chases Zhora.
In the streets, we can see people dressed traditionally as Jewshare krishnasas well as young boys dressed as punks.
In the Director's Cut and the Final Cut, there is a sequence in which Deckard daydreams about a unicorn; in the final scene, he finds an origami unicorn on the floor outside his apartment, left there by Gaff, suggesting that Gaff knows about Deckard's dream in the same manner that Deckard knows about Rachael's implanted memories.
Scott confirmed this interpretation was his intent in the unicorn daydream. However, while memory implantation for replicants is established elsewhere in the movie, it is unclear if daydreams work in the same way. Philip K. Dick . Dick wrote the character Deckard as a human in the original novel in order to explore the increasing similarity of humans and replicants. Screenwriter Hampton Fancher has said that he wrote the character as a human, but wanted the film to suggest the possibility that he may be a replicant.
When asked, "Is Deckard a replicant? It wasn't like I had a tricky idea about Deckard that way. Harrison Ford considers Deckard to be human. I thought I had won Ridley's agreement to that, but in fact I think he had a little reservation about that. I think he really wanted to have it both ways.
Ridley Scott stated in several interviews that he considers Deckard to be a replicant. The film's visual effects supervisor Douglas Trumbull stated that he doesn't know Deckard's true nature and that the issue is an enigma;  similarly, Villeneuve also noted that in"Deckard [ From Wikipedia, the free encyclopedia.
Redirected from Themes of Blade Runner. From the science fiction film. The purpose of this story as I saw it was that in his job of hunting and killing these replicants, Deckard becomes progressively dehumanized. At Leave - Barenaked Ladies - Stunt same time, the replicants are being perceived as becoming more human. Finally, Deckard must question what he is doing, and really what is the essential difference between him and them?
And, to take it one step further, who is he if there is no real difference? Retrieved May 23, Future Imperfect: Philip K. Dick at the Movies.
Lightman and Richard Patterson March 1, The ASC Magazine. New York: Ballantine. Retrieved November 11, Blade Runner (End Title) - Various - Les Plus Grands Thèmes De Science-Fiction Archived from the original on December 4, And other questions you may have before seeing the sequel". The Telegraph. Retrieved Un Uomo, Una Donna - Raymond Lefèvre - Grandi Temi Da Film 11, January 31, In Kerman, Judith ed.
The history of Blade Runner's most enduring mystery".