Essay Comparing Frankenstein And Blade Runner

The acquirement of knowledge, and the progress of technology devoid of ethical and moral influence, destructively impact upon humanity’s core. This distinct yearning to succeed has led to the evolution of technology and the devolution of humanity. The novel Frankenstein by Mary Shelly composed in 1818, and film Blade Runner directed by Ridley Scott in 1982, demonstrate the above notions. A comparative study of these texts reveals that, despite the fact that the moulded both works, the contextual anxieties embedded within each text consisting of the degradation of nature and humanity as a result of science are ultimately identical. These links are reinforced though the use of literary allusions and film techniques focusing on the tensions associated

with the ethics of creation and what constitutes humanity.
Shelley’s novel was influenced by the Romantic ideals of her context, and she used this to demonstrate the warning against science by highlighting the value of nature in the nineteenth century. Her context was also dominated by scientific enlightenment, which included Luigi Galvani’s discovery of reanimating dead matter through galvanism. Shelley uses the Gothic genre which was an aspect of popular culture. Dissimilarly, Scott’s context was influenced by an acceptance of science and technology. Scott uses post-modernism, a growing movement of his twentieth century context to question humanity. Scott also employed the film noir style, which manipulated elements of contextual popular culture to stress the tone of warning and foreboding throughout the film.

Shelley demonstrates the negative effects of science on nature, warning against the technological advancements.

In the late eighteenth century, Luigi Galvani discovered the potential of electricity to reanimate dead matter. The nouns, “electricity,” and, “galvanism,” are referenced in the novel, “the theory which he had formed on the subject of electricity and galvanism…was at once astonishing and new to me,” exemplifying the scientific discovery from the text’s context. Reanimation of the dead was perceived by Shelley as unnatural, and through the negative ambience with which she surrounds this idea; Shelley warns against the scientific violation of nature. In the novel, there is a repetition of the dramatic verb, “penetrate,” for example, “[scientists] penetrate into the recesses of nature.” This verb signifies Victor’s violation of the natural world, and therefore his lack of humanity to a romantically invested society. Through the harmful tone with which Shelley surrounds the negative powers of science, she illustrates the anxiety that nature will face

degradation.
Scott’s Blade Runner represents the world which Shelley warns against, presenting a dystopic world as a result of excessive technology.

The film’s context was in the midst of environmental tragedies as a result of science. For example, global corporation became strong influences on an economy similar to Tyrell Corporation which contributes to environmental devastation. The opening extreme long shot highlights that manmade colossal structures overwhelm the landscape and there are no natural elements. Scott employs a dark mise-en-scene punctuated only with minimal light that is only from artificial sources. The rain is a visual metaphor used repeatedly to suggest that nature is mourning by its destruction by humanity. Scott reflects the negative power of multi-national corporations to demonstrate that valuing science destroys nature. However, societal values in the twenty-first century realise how fragile the environment is in which these texts have warned

against.

In both texts, there is a questioning of humanity and what it means to be human. Romanticism valued children and their innocence, and, due to Victor’s lack of care and the Creatures innocence is compromised, along with Victor’s humanity. Victor exclaims, “…I beheld the wretch—the miserable creature which I had created…I escaped and rushed down stairs.” The derogatory term, “wretch,” in conjunction with the verbs, “escaped,” and, “rushed,” demonstrate Victor’s immediate dislike of the creature and his action of deserting his creation. Due to this, the Creature is alienated and Victor’s distorted sense of humanity is reflected in the absence of his sympathy. Shelley uses an intertextual reference in the novels title to characterise Frankenstein as “the modern Promethus”. By drawing on this fable, Shelley takes on its moral to suggest when humans try to emulate the gods of disrupt the natural order, as Frankstein does when he tried to create life, they will be punished. By demonstrating Victor, lack of human emotion and instinct, Shelley warns that science places questions upon one’s humanity.

Similarly, Scott shows that the value of science in his twentieth century, post-modernist context is bought about by a warped sense of humanity. Tyrell concedes Deckard exclaiming, “More human than human is our motto.” The materialistic reference to manufacturing beings with more “humanity” than real “humans,” raises questions about what constitutes humanity. Scott blurs the boundaries between humanity by giving the replicants unique identities and demonstrating human emotions such as desire, love and hatred, like Shelley’s creature, Scott encourages us to empathise with them as “human” victims. This is exemplified through the characterisation of Roy as fearful and affectionate, demonstrated by him saving Deckard, displaying grief over the death of Pris, and desire to survive, “I want more life”. Scott utilises this comparison between the “real humans” and the Replicants, to demonstrate the damage which science inflicts upon humanity warning modern audiences. However, in the twenty-first century, social media is being used all of the world in which society are losing human touch and a loss of human morals.
Evidently, through the comparative assessment of the above texts, it is clear that the representation and exploration of interaction between progress and humanity is a chief, universal concern. This concern allows texts which are subject to their time to exceed and challenge the boundaries of their contextual frameworks by resonating with newer audiences. Despite the different time periods, the warning in each text is similar; that science can corrupt humanity and nature.