Frankenstein And Blade Runner: A Comparative Analysis

Subjected by different Contexts, composers use popular mediums to reflect their personal discontent with challenges to established values. The epistolary novella, Frankenstein (1818) by Mary Shelley deals with prevalent concerns of humanity’s abuse of science in the 19th century and its effect on society. Conversely the post-apocalyptic film, Blade Runner, The Director’s Cut (1992) directed by Ridley Scott conveys a dystopic world which deals with the contextual concerns of globalization and consumerism in the 1980s. The analysis of transgression knowledge boundaries and ethical conduct and responsibility, the vitality of reconstructing developing contextual concerns through each text is emphasised.

An individual’s sense of identity and prosperity

Before the biblical alluded “prodigal son” meeting, Scott’s utilisation of light from the candles and the Mise en scene helps establish Tyrell as a divinity figure, which his symbolic death encapsulates the condemning of commodification and globalisation influence. Still the protagonist’s similar dehumanisation and impersonal regard for the replicants, unambiguous through rhetorically questioning, “how can it not know what it is”, Scott’s postmodern character Deckard’s transition to illumination counterparts with that of Robert Walton in Frankenstein. Although the low angle shot is employed to emphasise Roy Batty’s miscreation, the replicant represents a forlorn character backed up through the simile “All those moments will be lost in time, like tears in rain” which accentuates his humanistic qualities. Therefore Blade runner represents the reclamation of humanity illustrated through Deckard by the rapid scientific advances while paradoxically, implying that a dehumanised society has no hope for

Mary Shelley’s seminal science fiction novel Frankenstein cautions man against becoming “greater then his nature does allow” as Victor’s ironic claim “a new species would bless me as their creator” is ultimately juxtaposed with a subsequent self-loathing of his creation “became a thing such as even Dante could not conceive”. Further intertextuality occurs when Walton writes “therefore do not be alarmed for my safety or if I should come back to you as worn and woeful as the ‘Ancient Mariner” serves to resonate with victor’s remorse, metaphorically hung around his neck. Throughout Frankenstein, Mary Shelley identifies nature and familial interaction as a means to prevent the contextually profane religious allusive pursuit of “a country of eternal light”. This is further emphasised through religious allusion and metaphor as Walton asserts his compulsion has arisen from “an enthusiasm which elevates me to heaven”. Walton’s hindrance to Victor’s cautioning celebrates Shelley’s ultimate Romantic idealistic yet familial French Revolution assertions; a return to traditional natural and human interaction is vital in repairing this contemporary division between science and ethical