Module A- Elective 2: Texts in Time

Prose Fiction and Film

Analyse how Frankenstein and Blade Runner within their own context reveal a concern for the
consequences of scientific advancement.
The prescribed texts are:
-Mary Shelley, Frankenstein and
-Ridley Scott, Blade Runner (Directors Cut) or (Final Cut)
Mary Shelleys gothic novel Frankenstein and Ridley Scotts tech noir film, Blade Runner, explore
consequences of scientific advancement within their own context. Shelleys novel functions as a
rejection of Romantic idealism and Enlightenment rationalism, whereas Scotts film serves as a
parodical response to social disillusionment and the arising concerns of rampant capitalism. Both
composers highlight the universality of the devastation of nature from unethical scientific
endeavours.
Shelleys Frankenstein utilises the creative arrogance of the Romantic imagination to fashion a
Gothic world in which the protagonists usurpation of the divine privilege of creation has derailed
the conventional lines of authority and responsibility. Frankensteins subtitle The Modern
Prometheus becomes increasingly apt as the responder can see qualities of Prometheus in
Frankenstein. Prometheus in overstepping moral boundaries brought punishment upon himself,
therefore Frankenstein suffers from the Promethean obsession, in that he could take the role of
Creator and bestow life. Shelleys use of a fragmented epistolary narrative adds a disturbing sense of
truth, foreshadowing the dark consequences of Frankensteins actions. Moreover, her allusions to
John Miltons Paradise Lost evoke the poetic retelling of Satans fall from grace, wherein the
daemons association with the fallen angel exacerbates the effects of Victors rejection, ultimately
transforming its benevolent nature into a thirst for retribution. Shelleys use of intertexual
allusions with Greek mythology acts as a warning regarding science overcoming nature, influenced
by major scientific discoveries such as Galvanis concept of electricity. Shelleys allusion to Galvanism
I collected the instruments of life around me that I might infuse a spark of being into the lifeless
thing that lay at my feet, suggests an impetuous approach to science and its unethical focus and
Victors Promethean allusion; how dangerous is the acquirement of knowledge, acts as a
condemnation of mans egotistic desire to achieve scientific accomplishment. Victors social and
conscience abandonment are orchestral in the development of his own inherent flaws that are
juxtaposed with the monsters flaws characterised by the creators rejection of his creation. The
imagery of the dead corpse and repetitious use of horror upon the creation of the miserable
monster establishes strong imagery of death and despair around this scientific advancement, whilst
Victors foreshadowing of Walton to avoid ambitions of science and discoveries encapsulates
Shelleys vilification of contributors to the Industrial Revolution. Moreover, Shelley stresses her
warning through the protagonists connections with nature, where Victors insensibility to its
charms, arising from his immersion in science, results in his deep, dark and deathlike solitude,
with the heavy alliteration exemplifying his degraded sense of humanity. Ironically, the monster
possesses greater benevolence and a more intimate connection with the pleasant showers and
genial warmth of spring, with such characterisation capturing Shelleys reflection of Romanticisms
idolisation of nature, cautioning us against the dehumanising effect of unrestrained
scientific advancement.
Where Shelleys text exposes a time period of uncontrolled scientific development, Scotts film
emphasises the age of globalisation, consumerism, corporate domination and commercialism. Scott
has intended the dystopian setting of L.A. 2019 to represent our potential existence should we let
technology run out of control. The opening extreme long shots of the deteriorating megalopolis of
Miltons city of fallen angels reflect the ramifications of mans brash commercialist greed. A
plethora of lights illuminate the heavy polluted dark skyline along with deep drum percussions of
the non-diegetic sounds, creates a sense and mood of foreboding - written into the mise-en-scene
because the society it depicts is the questionable effect of two centuries of industry, technology and
moral indifference. Scotts use of typical neo-noir cinematography shots finally pan to the monolithic
ziggurat structure that is symbolises Tyrells God like stature and simultaneously acts as a dual
metaphor for technology and history. The viewer first sees Tyrell through Deckards view as a man
hidden by shadows but whose large glasses reflects the sun that brings the yellow light to the dark
recesses of the room. The camera frequently tilts upwards with Tyrell in the top third of the frame,
making him appear larger and conveying his dictatorial power. Tyrell himself ironically reflects the
dangers of humanitys abuse of scientific progress stating to make an alteration in the evolvements
of an organic life system is fatal. This ironic statement is used by Scott to reinforce his cynical values
towards the corporatisation of science transcending from similar values of Shelleys context.
Where Shelleys Frankenstein focuses on the ethical implications of science, Scotts Blade Runner
addresses the same questioning but of the economic structures of the 80s.The rise of capitalist
ideals and Wall Street mantra greed is good is evident in the symbolic dominance of Tyrrells
towering ziggurat reflecting his desire for omnipotence. Scott also depicts his fear and uncertainty of
the future by developing the idea of the failure of humans as creators through the characterisation
of Dr. Eldon Tyrell. Tyrell exerts a powerful dominance over the dystopian Los Angeles city through
his exploitation of science and commercial power. This is exemplified when he states Commerce is
our goal at TyrellRachael is an experiment, nothing more, with a close-up shot of his emotionless
facial expression. This line conveys the apathetic attitude of Tyrell towards his creation, Rachael,
explicating the selfish and flawed sense of responsibility that Scott fears mankind will possess with
this increasingly unethical economic paradigm. The dehumanised portrayal of Tyrell reflects the
contextual concerns of the power struggle involved in the cold war and the potentially subverted
socio-economic values. The rise of laissez faire capitalism is further depicted in the meeting of the
maker scene. Here Scott utilises sound effects of the computer generated secretary voice,
combined with a mid-shot highlighting the white curtains and candles in Tyrells bedroom. The miss-
en-scene emphasises the luxurious lifestyle in which Dr. Tyrell resides in contrast to the dystopian
metropolis of Los Angeles, ironically portraying him as a god-like figure. Hence, Tyrells
characterisation solidifies Scotts values about the flawed responsibilities of humans as creators due
to societys obsession with progress.
Additionally, Scott represents his perspective of his modern western society, portraying the
destructive potential of abusing science through the replicants themselves. The full repercussions
of playing-God by creating human replicants are not fully conceived until their murderous intent is
alighted. In the Voight-Kampff test scene on the replicant, Leon, Scott depicts the true corruption of
technology through the brutal, cold-blooded killing of the Blade Runner, Holden. The mise-en-scene
of a dark, gloomy room and a large table with Leon and Holden sitting at opposite ends creates a
foreboding atmosphere. This is coupled with sound effects of heartbeats to increase tension,
climaxing with the barbaric killing of Holden by Leon. Scotts characterisation of the replicants
highlights his concerns of the fatal use of excessive science to advance the world. This can be seen to
parallel the context of the Cold war where the mass development of nuclear weapons struck fear
that it could potentially cause a nuclear holocaust. Further complicating this uncertainty was the
declining importance of religion and ethical values during this period. Tyrell himself ironically reflects
the dangers of humanitys obsession with progress stating that To make an alteration in the
evolvements of an organic life system is fatal. By the use of this dialogue, Scott reinforces his
changing perspective of his Cold War society due to civilisations abuse of science to gain power.
Therefore, we see how changes of emphasis within contextual values and worldviews that, Blade
Runner evokes the earlier Frankenstein by reengaging with a concept of defining humanity in a new
and altered cultural context.