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Themes in Blade Runner

From Biocrawler, the free encyclopedia.

The world of Blade Runner depicts a future whose fictional distance from present reality has grown sharply smaller as 2019 approaches. The film delves into the future implications of technology on the environment and society by reaching into the past using literature, religious symbolism, classical dramatic themes and film noir. This tension between past, present and future is apparent in the retrofitted future of Blade Runner, which is high-tech and gleaming in places but elsewhere decayed and old.

A high level of paranoia is present throughout the film; seen in the visual manifestation of corporate power, omnipresent police and probing lights. The film also makes extensive use of eyes and manipulated images to call into question reality and/or our ability to perceive it. It goes so far as to put in doubt the nature of Deckard and what it means to be human.

Roy Batty looking at the Immortal Game.

Contents

1 Genetic engineering and cloning

2 Eyes and memories

3 Female stereotypes

4 Religious symbolism

5 Deckard: Replicant or Human?

5.1 Clues and Questions
5.2 Significance of Deckard's Identity
5.3 External links

6 Economic inequality and corporatism

7 Environment and globalization

8 References

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Genetic engineering and cloning

The first draft of the entire human genome was decoded in June 26, 2000, by the Human Genome Project, followed by a steadily-increasing number of other organisms across the microscopic to macroscopic spectrum. The short step from theory to practice in using genetic knowledge was taken quickly: genetically modified organisms have become a present reality, with genetically-modified food ingredients an everyday part of human daily diet (at least, in North America).

The embryonic techniques of somatic cell nuclear transfer from a specific genotype via cloning, as well as some of the problems pre-figured in Blade Runner, were demonstrated by the cloning of Dolly the sheep in 1996. Since 2001, political efforts have been mounting in many countries to ban human cloning, impelled by a sense of its abhorrence and imminence, while rumors abound that the first human clones may already have been produced, the most famous example being a claim by the Raelians, a religious group who believe in extraterrestrials and have offered no proof of their efforts. In all of these developments, a clear tension between commercial and non-commercial interests is apparent, as scientific and business motivations conflict with ethical and religious concerns about the appropriateness of human intervention in the deepest fabric of nature. Possibly resulting in the "ownership" and enslavement of life that could eventually turn on its creators. In many ways Blade Runner serves as a cautionary tale in the tradition of Mary Shelley's novel Frankenstein.^{[1] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_ecofeminist2)}

Such issues are deeply troubling to many. At core, the creation of life and the ordering of the natural world has been the traditional prerogative of God or gods, and the substance of various creation myths. In the classic Greek tradition, the term "hubris" denotes actions by humans that usurp roles properly reserved for the gods; heroes who display hubris invariably meet nasty ends (nemesis). Blade Runner has been praised for immersing us in these conflicts, successfully blurring any standard expectations of moral correctness.

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Eyes and memories

Eye reflecting the "Hades" landscape.

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 hellish landscape seen below. When reflecting one of the Tyrell Corp. pyramids it evokes the all-seeing Eye of Providence on the back of the U.S. one dollar bill.^{[2] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_eyes1)}

In Roy's quest to "meet his maker" he seeks out Chew, a genetic designer of eyes, who created the eyes of the Nexus-6. When told this, Roy quips, "Chew, if only you could see what I've seen with your eyes," (ironic in the sense that Roy's eyes are Chew's eyes, at least inasmuch as they are the products of his labours), emphasizing the importance of sight in the formation of self. Roy and Leon then intimidate Chew with disembodied eyes and he tells them about J.F. Sebastian.

It is symbolic that the man who designed replicant eyes shows them 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 meme is used to great effect in Blade Runner. The Voight-Kampff test that determines if you are human measures the emotions, specifically empathy, of an individual through various biological responses. Among them the fluctuation of the pupil and involuntary dilation of the iris. Furthermore, Tyrell's trifocal glasses are a strong indicator of his reliance on technology for his power and his myopic vision.

The glow which is notable in replicant eyes in some scenes creates a sense of artificiality. According to Ridley Scott, "that kickback you saw from the replicants' retinas was a bit of a design flaw. 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".^{[3] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_ecofeminist3)}

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 prevalent 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.

With this theme throughout the film, even mistakes and inconsistencies can be interpreted as further tests of the audiences' visual memory. For example stand-ins are used for Roy and Zhora in Leon's photograph which is put into the Esper machine. Also when Deckard finds a snake scale in the bathtub and stands up to place it in a bag; it is Ford's stunt double Vic Armstrong. This serves to reinforce the unsettling conclusion that despite the rich visual tapestry of Blade Runner, clarity cannot be achieved.^{[4] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_eyes2)}

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Female stereotypes

Rachael at the Tyrell Corporation.

Another issue that permeates Blade Runner is the role of women. This is explored through the treatment and defining of lead female roles, which all happen to be artificial (replicants) and sexualized by the men around them. This gives whole new meaning to the term "objectifying women" since they are manufactured to look like models.

Pris is a "basic pleasure model."
Zhora becomes an erotic dancer performing with a snake.
Rachael is supposed to be a copy of Tyrell's niece (with implanted memories). Her ambiguous part-secretary, part-femme fatale character can be read as being objectified—one of the questions in her Voight-Kampff test seems to question her sexuality. Depending on one's view of replicants, she then becomes Deckard's "love interest" or "love object."

The film-noir setting provides further context of the portrayal of women in film, with the femme-fatale historically portraying women as dangerous, uncaring, devious, sexualized and deadly as a reaction to changing roles after World War II. Sebastian is lured by Pris' sexuality, a naked Zhora catches Deckard off-guard, and then there is the forbidden love with Rachael. Critics may believe Blade Runner misogynist, given that Pris and Zhora can be seen as "strong, independent and non-subservient women" who are killed, whereas Rachael who is the opposite lives.

Arguably, the use of women as victims is meant to elicit sympathy from the audience (a Voight-Kampff test), and moreover can be read as a postmodern critique of the film-noir archetype. In this view, Blade Runner exposes the femme-fatale stereotype as dead. Furthermore, the race of the replicants implies a critique of females in Hollywood films. The replicants become representative not of a battle between sexes, but "between that which is human, and that which is non-human, or to put it more simply, that which is real and that which is not real."^{[5] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_misogyny)}

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Religious symbolism

There is a rich subtext of religious allegory in Blade Runner. Tyrell has the appearance of a living god from within a pyramid above the clouds that exudes wealth and power. This self-image is reinforced when Tyrell assumes the role of the gods by dimming the sun on command.^{[6] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_script)} Given the replicants' superhuman abilities, they are created by Tyrell and fall from the heavens (off-world) makes them analogous to fallen angels. Roy Batty shares many similarities in this context with Lucifer as he seeks an audience with Tyrell using J.F. Sebastian who shares the replicants' "accelerated decrepitude."^{[7] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_gossman)} Zhora makes use of a serpent that "once corrupted man" in her performance. Nearing the end of his life Roy creates a stigmata as he transitions into a Christ-like figure who provides salvation to Deckard. Upon his death Roy's soul ascends into the heavens in the form of a dove; which appears to fulfill Tyrell's premature mention of the Prodigal Son.^{[8] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_religion)}

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Deckard: Replicant or Human?

Deckard is the hero – perhaps antihero – of Blade Runner. He is a bounty hunter whose task it is to "retire" replicants. The nature of most characters is shown clearly, but there is sufficient ambiguity in Deckard's character that the viewer may be left in doubt.

Gaff's Origami unicorn

Relevant opinions from those involved in the production:

Ridley Scott stated in an interview in 2002 that Deckard is a replicant.
Harrison Ford continues to insist that Deckard is human.
Hampton Fancher (original screenwriter) has said that he did not write the Deckard character as a replicant.

The debate on his nature renewed when the Director's Cut was released with the unicorn sequence. Since the Original Theatrical Version (OV) points to Deckard being human, whereas the Director's Cut (DC) indicates Deckard is a replicant, it has been asserted in the Blade Runner community that Deckard's nature depends on which version you watch or consider more authoritative.

Others maintain the film is ambiguous. In some cultures this would be accepted as is, but many cannot resist the temptation to look for clues and offer analysis to gain greater insight into the film, its themes and themselves.

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Clues and Questions

Human

Known replicants are all stronger than humans, but Deckard is of merely human strength. He is beaten physically and, like any human, tires.

Replicants are illegal on Earth, so why would one be free, as Deckard is at the start of the film?

The Tyrell Corporation appears to be the only manufacturer of replicants, but no connection is shown between the police and Tyrell to account for a replicant Deckard.

Replicants may be manufactured with false memories; why would Deckard's memories of prior police work not be happy ones?

All humans are referred to by their surname ("Bryant"); all replicants are referred to by their given name ("Roy"). "Deckard" sounds like a surname.

Theatrical Version only:

The film is overdubbed by Ford as Deckard in a distinctly human tone, complete with mention of an ex-wife.

The end is extended with a short "happily-ever-after" sequence in which this voiceover declares Rachael a "new model", without the four-year limit on lifespan accorded other replicants. This seems like a sop to common audience sensibilities, which might otherwise be offended by the notion of a human running away for a few short years with a replicant.

Replicant

Rachael's question: "Have you taken the test yourself?" remains unanswered.

Replicant's eyes are seen to glow a yellow-orange color; this cannot be "real" within the frame of the film, since then the Voight-Kampff test would not be necessary -- it is only a clue for the audience. Deckard's eyes are seen to glow when he tells Rachel he wouldn't go after her, "but someone would."

Replicants are strong and dangerous; another Blade Runner is badly maimed in their pursuit. Deckard battles them alone and perhaps wins; does it not make sense that the police would set a replicant to catch a replicant?

Roy claims Deckard's kinship. When Deckard falls, Roy grabs him and cries, "kinship!" However, Roy could also be alluding to a kinship that goes beyond the human/replicant divide: the two share a life in fear, and share mortality.

Director's Cut only:

Deckard dozes at his piano and dreams of a unicorn. At the end of the film, he discovers an origami unicorn, no doubt left by Gaff, his police "minder". This suggests that Gaff knows the contents of Deckard's dreams.

Gaff has two lines near the end which appear in a different light when the last point is considered:
- "You've done a man's job, sir!" -- may be ironic.
- "It's too bad she won't live, but then who does?" -- This could be read as suggesting that, like Rachael, Deckard has only four years to live.

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Significance of Deckard's Identity

Human

To emphasize similarity by juxtaposition. When Roy saves Deckard, a replicant is saving a human. When Deckard falls in love with Rachael, a human is feeling affection towards a non-human. If replicants are hunting and falling in love with replicants there is no ambivalence and therefore no conflict. If Deckard is a human interacting with replicants who are showing very human behavior it makes the question of whether there even is a difference resonate. It puts a few of the attributes of humanity into relief so that they can be seen clearly.

Replicant

To emphasize Deckard's struggle to find his own identity, and to cause the audience to feel as he does in their own struggle to understand Deckard's identity, and ultimately to question their own understanding of how we can know our own humanity is different, and how we can know anything (cf. epistemology). If the audience does not know the answer until the end, and the characters do not know it either, then the story makes the audience and the characters ask again what is the difference between me and something un-human if I can be either human or un-human and I need someone else to tell me which?

Both

Even though replicant origins are artificial their potential "humanity" is explored in depth within the film. Therefore, Deckard may be a replicant and human.

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External links

The Replicant Option (http://www.brmovie.com/Analysis/D-a-R_by_D.htm) – essay by Detonator
Deckard Is Not A Replicant (http://www.brmovie.com/Analysis/D-a-H_by_MC.htm) – essay by Martin Connolly
Was Deckard a replicant? (http://scribble.com/cgi-bin/colloquy/colloquy2?which=br&search=deckard.*replicant) – discussion at 2019: Off-World
Ridley Scott interview (http://news.bbc.co.uk/1/hi/entertainment/825641.stm)
Hampton Fancher interview (http://www.ctv.es/USERS/canetor/hampton.htm)
Do Androids Dream of Electric Sheep? ISBN 0345404475

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Economic inequality and corporatism

The decrepit, dirty, dark sprawl Deckard explores in search of the replicants is contrasted by Tyrell's offices and by the bright skyscrapers in the distance. It appears that socioeconomic inequality has worsened and people are migrating to off-world colonies to escape poverty and oppression, like in historical migrations to "new worlds."

LA 2019: The dark sprawl overlooked by glimmering towers.

Corporations seem to dominate this world as much as they dominate the landscape with their buildings and pervasive advertising. The strong implication is that corporatism is more widespread as the military-industrial complex has graduated from manufacturing weapons systems, to soldiers.^{[9] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_environment)}

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Environment and globalization

The climate of Los Angeles in 2019 is much different than it is today. There is a strong implication that pollution from industry is having an adverse effect on the environment, possibly similar to global warming or global dimming. Since real animals are rare, the biosphere is severely damaged and some form of ecocide has taken place. In Do Androids Dream of Electric Sheep?, the extinction of animals and the depopulation of the world was caused by radioactive fallout from a nuclear war).^{[10] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_environment2)} Owls were the first species to become extinct in the disaster. This is likely the reason for Deckard's line in the film about Tyrell Corporation's owl: "It must be expensive." (See also post-apocalyptic science fiction.)

With the Asian demographics seen in Los Angeles in 2019 and the dialect (cityspeak) Gaff uses it is clear that there has been a great deal of cultural mixing. Globalization is also reflected in the name of the Shimago-Dominguez Corporation, whose slogan proclaims, "Helping America into the New World."^{[11] (http://www.biocrawler.com/encyclopedia/Themes_in_Blade_Runner#endnote_globalization)}

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