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Blade runner


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Blade runner

  1. 1. Blade runner Siobhan Arnold
  2. 2. Blade runner is an exemplary postmodern text in the sense that it both represents the conditions of post modernity and employs elements of the postmodern condition to texture its narrative.
  3. 3. In its form, content and ideological centre Blade Runner explores and utilities the strategies of quotations, recycling, pastiche, hyper reality and identity crisis.
  4. 4. In Blade Runner there is an overarching and insipid postmodern identity crisis that seems to touch everything and everyone in the film. Los Angeles 2019 is in a state of perpetual crisis. Composed of patchwork of styles and fads it has no geographical centre, no ‘original’ past to refer to, no secure history to be bound to and no concrete present to allow communities to foster.
  5. 5. In one sense this is why the replicates, including Deckard, and drawn to its quarters they share, imitate, and can plug into its schizophrenic state. But the relationship correspondence is one born out of the most despairing search for wholeness – all anyone (good) really wants in the film is a place a history, a biography to call their own.
  6. 6. Another reference is to Pan Am, the airline company that was Scott’s vision of the future. Ironically this company went bust and is no longer in existence. Also, in the 1980’s, the Japanese were becoming increasingly wealthy and buying up land in the United States, in particular, LA. There are many references to this in the movie, as this was Ridley Scott’s vision of the future.
  7. 7. Textually, Bade Runner quotes from different film genres and film movements/periods, as well as other forms of visual media and actual historical periods. For example it lifts scenes directly out of older films such as Metropolis (science fiction) and Mildred Pierce. Also other pop culture references are used such as the New York skyline, the pulp fiction of Raymond Charles.