This document provides an analysis of how science fiction films like Blade Runner and Minority Report critique surveillance societies. Both films are set in dystopian versions of real cities (Los Angeles and Washington D.C.) in the near future where new technologies and systems monitor and control citizens. The films draw from film noir conventions to present themes of corruption, moral uncertainty, and a loss of free will. They critique issues like corporate power, erosion of civil liberties, and the dehumanization that can result from extensive surveillance and social control.

1. In what ways does science fiction critique surveillance societies?
Thisessaywill criticallyanalyse the waysinwhich SFcritiquesonsurveillance andcontrol in
dystopiansocietiesandhowituses the cityas a metaphorand warningof negative political and
social developments.Iwill illustrate myargumentthrough BladeRunner() andMinority Report
(2002), bothfilmsuse the cityas theirprime locationof theirdystopianworldsand how theircity
representspast,presentandfuture.I will alsoexamine othercommon ideasassociatedwith
dystopiansocietiesthatlinktothe theme of surveillanceandatotalitarian systeminSF.Identifying
keythemesthatinfluence the productionandreceptionof SFmediaincludingadvancementsin
technology,identity,civil-rightsandclassinthe genre.
SF cinemahasalwayshad a large followingbutduringthe 1970s the genre became extremely
popularwithaudiences,bigbudgetSFfilmswere made andpavedthe wayforthe blockbusterhits
of ensuingdecades.OldSF filmsare revisitedtimeandtime afteragain,New blockbustersdraw
huge audiences andalarge fanbase that dissectandexplaineverydetailfromthe science
technologyof aspaceshiptothe ideologiesof anextra-terrestrial world.UnlikemostfilmgenresSF
up until recently hasnotreceivedthe amountof attentionas otherfilmgenresintermsof critical
and theoretical thought.DefiningSFcinemaasgenre canbe difficulttolabel,eventhoughthe genre
iswell recognisable inpractice,“ithasbeenregardedasa seriousmethodological drawbacktogenre
criticism”Kuhn1990:1). SF as genre ishard to pindownas ithas crossoverand collaboratedwithso
manyother genresinotherformatsbesidesfilmsuchashorror andfantasy.
Thoughpossiblymore importantthandefiningSFgenre “isthe questionof what,incultural terms,it
does- its‘cultural instrumentality’”Kuhn1990:1). Thisessaywill criticallyanalyse mychosenfilms
througha visual sense asmostfilmgenresare usually recognisedbypeople throughimagery,
specifically iconography.Anapproachtoimagesingenre filmslikeSFisiconography.Vivian
sobchackdividedthese patternsof imageryintothree categories: “Those surroundingthe physical
presence,attributesanddressof the actors and the characters theyplay;those emanatingfromthe
milieux withinwhichthe charactersoperate;andthose connectedwiththe technologyatthe
characters disposal”.We see these patternsmanytimesinSFthattheyhave become “visual
conventions oricons,pictorial codeswhich graphicshorthandunderstood bothbyviewersand
filmmaker”sobchack2005:4). The westerngenre hasmanyiconographyandtopographysuchas the
mountains,horses,saloons,Badlands,desert,“itsappearance evokesassociationsinthe viewer
whichare,perhaps,more metaphysicallythanhistoricallybased”.Sobchack2005:4). The same thing
can be said fora city, citiesingangsterfilmstypicallydisplaynarrow alleyways,rooftopsandurban
buildingshave significantmeaningand“yet-unplayedactions,withemotionalreverberationswhich
have little connectionwiththe same physical objects”.Outfitsandobjects alsoattaintotemic
significance asagun ina westernisdifferentfromagun ina mafiafilm.Thiscanall be seenin
Blade Runnerhas a noirtheme andsettingsof fog,cigarettes,trenchcoats,alleywaysandsuch.
Minorityreport doescitydoesthe same thing meaningitispresentingsimilarthemesandpointsin
noirfilmsuchas corruption,moral uncertainty,fatalismandcrime,perhapsreflectingcynicismina
uncertainmodernlife.Bothfilm’s dystopianversionsof LosAngelesandWashingtonD.C.evoke
those associations. Tech-Noirisa sub-genre thathasnarrativesandimagessimilartonoirfilmsof
the 1940s, suchas the pessimisticprotagonistwhoare drivenbytheirpastor by moral weakness
inevitable torepeatpastmistakes.The elementsof noirinmychosenfilms“reflectsadvancements
intechnologyandproblemsfacingAmericansocietyinthe late 20th-centurysociety”Hurtgen:2019) ,
MinorityReportwithcorruptionof publicservantssuchasthe police andcorporations.The same
withBlade Runnerscorporate greed,climate issues,artificial intelligence bothhave anunderlying
theme of surveillance.The technologypresentedare “perceivedasadestructive anddystopianforce
that threatenseveryaspectof ourreality.”Auger21:2011) It isexposingthe natural conceptsof
societyandidentity,ratherthanbeingpermanentaspectsof nature theyare like nature itself,are

2. In what ways does science fiction critique surveillance societies?
shownas justpiecesina largerrepresentationthatislikelytochange,exploitordestroy.Thisdoes
raise up an importantissue concerningiconographywithSF.A listcanbe made for SF objectssuchas
a spaceshiporaliens whichdorecall the genre butare notentirely necessary toSF.On the other
hand, you can’timagine the same forWesternor Gangsterfilmswhere the locations,people and
objectsseemtobe vital to theirgenres like agun.“Theirsignificanceseemsreadilyapproachable
and comprehensive because theyappearandsendthe same messagestousinalmosteveryfilm”.
My chosenfilmsare similarSFgenresbutalsohave theirowncross-genre.One is acyberpunk noir
SF and the otherismore of a mysteryneo-noiractionSF.
Both Blade RunnerandMinorityReportare adaptedstoriesbyAmericanauthorPhillipK.Dickwho
was knownformakingSFthat exploredvarioussocial andphilosophicalthemes,notablyinAmerican
society.Hisstoriesfeaturedincludingboth blade runnerandminorityreport recurringelementsof
simulacra,corporations,authoritariangovernments,and such.Hisstoriesinvolved questions that
“exploredthe messieraspectsof identityandhumannature,of realityandperception”.
(O’Reilly,irish). All hisstoriesfollow acommonthreadof the nature of whatis real or whatis a
creationof personal identity.Hisfictionalworldslike BladeRunnerandMinorityReportare mostly
inhabitedbyworkingclasspeople,theyare the focus inthe films ratherthanthe capital elites who
usuallyportraythe antagonist.
MinorityReportisa detective-thrillersetininWashingtonD.C.inthe year2054 where all crime has
beeneliminated beforethe crime iscommitted.A systemcalled Pre-crime iswhereanelite law
enforcingsquadstopcrimesbefore theyare committedusingthe powerof three physichumans
called‘Pre-cogs’whocansee intothe future predictingfuture events.JohnAndertonisapolice
officerof the Pre-crime divisionarrestingpeoplebefore theycommitmurders.One dayhe is
predictedtokill someonein36 hours,now withno faithinthe systemhe ison the run tryingto find
out whosethimup discoveringabiggerconspiracy.Blade Runnerissetina cyberpunkvisionof
2019, Los Angeleswhere humanshave createdaslave of humanoidandroidswithshortlifespans
called‘Replicants’.Replicantsare usedaslabourin‘off-worldcolonies’andare illegal onEarth.Rick
Deckardis a ‘Blade-Runner’,apolice officerwhosespecialtyistohuntdownand eliminate
Replicantsonearth.He forcedto come out of retirementwhenfourreplicantsescape fromanoff-
worldcolonyandhide inL.A.
Both filmsfollowsimilarbinaryoppositional themessuchasfree-will vsdeterminism, androidvs
human,real vs artificial,identityvsmemories,societyvsclassandold-technologyvsnew-
technology.Theyall linktothe ideaandmotif of surveillance,controllingpeopleandsocietythrough
authorityor body.One raisesquestionswhere isthe future issetordoesfree-will alterthat?,the
otherraisesquestionsabouttechnologycontrollingtoomuchof societycreatingidentitycrisis
amongthe characters.Both have similarvisual styleof anoirmysteryandare setin real-life
locationsin a future nottoo far fromwhen the filmswere theatrically released.Theybothhave a
twenty-yeargapinbetweenrelease datesandcreatedbyDickyearspriorto the films,Iwill latergo
intodetail onwhythese stylisticchoiceswere made and whythese storiesfeature real-life locations
insteadof fictional location. (maybeaddhere) The reasonwhy SFstoriesfeature real-lifecitiesin a
nearfuture isbecause “the author intendedacontemporaneousreadertoview asconsiderably
worse that the societyinwhichthe readerlived”2003:69 Seed). A futuristicnon-existentsociety
allowsaudiences toviewthe storyfroma more neutral perspective, adystopian showsadifferent
settingcomparedtothe real present.“Itplacesthe unfamiliarandalieninthe contextof the
familiar”.It’snotsomuch that dystopianfilmslookslikethe real worldits more thatreal-lifelooks
more like SF cities,Metropoliswas one of the firstSFfilmstohave a dystopiancitywhere the rich
live inhuge luxuriousskyscraperswhilethe poorlive atthe bottom.The filmhasinfluencedevery
dystopianfilmthatcame outafter, but itsdepictionof afuture cityalsoinspiredarchitects. Blade
Runnerhas the same aestheticof portrayingavertical citywithan urbanstreel level,inrecentyears
the worldof blade runner isbecomingmore realistic.Dubai isafuturisticworldtodayitsoil business
helpaccelerate the developmentgrowthof the cityto have futuriststyle toitsarchitecture.Syd

3. In what ways does science fiction critique surveillance societies?
Mead an industrial designerwhohelpeddesignthe cityof Blade Runnerstated, "The Middle Eastisa
fantasticexample of howrealityiscatchingupwiththe future”.Itsmore thatlife imitatesart,then
art imitateslife sometimesinanegative way.The billionaireeliteslive intheirpenthouse andflyon
expensive jetswhile thousandsof workersdie constructingthemandlive atthe bottominpoor
livingconditions. Dystopianfilmsuse real locationsand neartime-periodsaswarningtoviewerswho
are goingto be alive inthose times-periodstonotrepeatthese mistakespresentedindystopian
filmsintheirpresent.
Blade RunnerandMinorityReportare bothset in a near-future real-life locationwhere humanshave
deviatedintoanewsystemorideologythatchangesthe wayof life aswe knew itfor the worse,a
‘dystopia’. The worddystopiacomesfromthe ancientGreekword‘dys’meaningbad,‘topia’
referringtoplace. Dystopian:“the negativeof utopia,aplace or societydepictedasworse orindeed
a potential future of contemporaryworldinwhichwe live”.Mostdystopiasinthe twentiethcentury
are critical dystopia“critical,inthe sense,incorporatesanenlightenmentsenseof critique,a
postmodernattitude of self-reflexivity.”2 these DystopiaslikeBlade RunnerandMinorityReport
neithercelebratethe ideaof utopiabutdonot entirelyreducethe narrative tototal despair. It
examinesthe waysinthose disparagedbyatotalitarianorcorruptedregime “can fightandchange
the systemandperhapsmove forward,thusofferingasense of hope aswell asa visionof
hopelessness”.Bothdystopianfilmsshow viewersthe awfulnessandrevel inthe dayafterof their
owndystopiancities,theypointoutthe tendenciesthatseemlikelytoresultincorporate
totalitarianism,apocalypse,orboth”Penley,1990:116).
MinorityReportopenswithamontage of visionsbythe ‘Pre-cogs’predictingmurdersbefore they
happen,theirvision alertsthe Pre-crimedivision whoarrestapersonwhowas aboutto murderhis
wife.Rightfromthe startit is presentedto viewersthattechnologyjustdoesnotmake upthe
future,buthowsociety usesit. Representingasocietydominatedandaccustomedtoextreme
continual monitoringandsurveillance. The outcome isthataudiencessee afuturisticworldthat’s
recognisable.We see recognisable brandstodayadvertisedinthe mall scene,inthisscene people
are surrounded bycamerasthat scan yourretinaand call youby name alongwitha barrage of
advertisements.People are readingpaperthinscreenswiththe newsupdatinginstantly.Anderton
walksintothe Gap tryingto not be seenandyetthe store greetshimwhile he’stryingtobe
incognitoandremembershispastshoppinghistory.The filmdisplays societaltrendsinthe narrative
and practical designsproducing momentsclose tothe real-life.Amazonandmostonline retailers
greetyouin similarwayknowingyourhistoryandonlinepop-upsof advertisements constantly
appear.The filmin2002 was alreadypredictingaworldwhere productsandservicesleadtopromise
of securityandreducedeffort,butinactualitydestroys anyrightstoprivacy because of constant
surveillance.Eye trackersare everywhere inthe filmallowinggovernmentagencieslikethe policeto
have any informationonanyone predictingstate paranoia,whichbecame acommonplace inthe
followingyears of the film’srelease.The filmcame outone yearafterthe WorldTrade Centre
attacks and afterthe film’sdebutgovernmentoverreach became areal concern intodayssociety
and presentina lotof pop-culture mediatextstoday.The filmperceivedthisconcept of people
wantinggovernmenttoprotectthembutnotwantingtoomuch so theycan’t have anyprivacy. The
filmsbringsupa moral question onsurveillance,arrestingpeoplebeforetheyeventhinkabout
committingacrime is unethical, yetwe alsosee examplesof people beingalivebecause of Pre-
crime. (Blade Runnerexample of surveillance)
SF isfrequentlylinkedwiththe ideaof dystopianandapocalypticscenarios,unlike anyothergenre
SF is“able to representandreproduce the individual andcollective fears,paranoiasandcultural and
political transformations inthatexistinsociety”.Itcan dothis because indefinitionitisoutlinedas
science ‘fiction’,fictionthatissofar removedfromrealismof the real world.SFcouldoccur in

4. In what ways does science fiction critique surveillance societies?
imaginable futuresasthe signsandcodesthat are showninSF affectpeople andtheirlives.This
doesbringup an interestingquestion,whatisthe difference betweendystopiaandapocalypse?
Dystopiaisthe opposite of Utopia,“a communityorsocietythatis perfect,orveryclose tobeingso”
Babb,2016). If so, dystopiamustmeananimperfect society,thistermcanbe subjectiveandunclear
as a societycan be awful or ideal dependingonthe individual’spositionwithininthe world. Some
people couldconsidersocietytodaytobe like adystopiadependingontheirsituationinlifewiththe
politicsandsysteminsocietytoday. It’sclearthatthe term dystopiaismore of a broad category
crossingoverwithothertermsinthe SFspectrumincludingpost-apocalyptic. Post-apocalyptic
usuallymeansthe aftermathof adevastatingdisasterfromanaturel or manmade cause.If the
narrative showssome insightintothatsocietyaftersome sortof apocalypse happenedandthat
societyis inan undesirablestate tolive in, thenthatnarrative iscategorizedasa dystopian.For
example, The HungerGameswasthe resultof a manmade warlong ago, but the plotfocusesonthe
social politics,oppressionandcontrol of the US government.The aftermathof anapocalypse could
initiate adystopiansocietybutSFfilmslikeMadMax are usuallyconsideredtobe a more post-
apocalypticfocusingonthe survival of the apocalypticdisasterbeingmore recentand fundamental
than political.However,itcouldbe dystopian bysome asthere are many differencesandsimilarities
betweenthe twoterms“because the usual confinesandspecificationsof agenre are not presentin
science-fiction”Babb,2016). It dependsonwhatthe core focal pointof the narrative isif itis about
powersof authorityitsdystopianandif itis about a damagedstate of an aftermaththanitspost-
apocalyptic.Blade RunnerandMinorityReportare therefore dystopianasitsetina
“future that hasgone badlywrong.Totalitarianregimeshave takenover,bigbusinesshas
strangledindividualsovereigntytodeath,technologyhasproducedarace of clonesor ison
the verge of exterminatinghumanity…have resultedinsome disastrousmeddlingwith
nature,where humankindisjustabouttobe wipedout”
Although viewers canassume some sortof disasterhas happenedasthe climate of Los Angelesis
verydifferenttothe one that people know.Itisclearlyimpliedthatthe earth’senvironmenthas
beenaffectedin anegative way withglobal warmingandpollution.The extinctionof animalsonthe
planetisestablishedasanytime the filmshowsananimal itremindsviewersthatitisartificial.
Clearly aseriesof devastatingeventsare beingimpliedthroughvisualimageryandsetting have
graduallycreatedthe worldviewerssee, butthe plotfocuses onmore of the injustice of societyand
effectsof technologyratherthanfocusingonthe aftermathof a nuclearwar.Althoughone could
argue that the plothappening now isbecause of the pastandthisis the aftermath.
“The cityisthe conventionalsettingwhenscience-fictionfilmmakersturntheirattentionawayfrom
the extra-terrestrial totackle more earthboundtopics”(Gold,2001:337). Overthe years SFcinema
have utopiasanddystopiasthatusuallyreflectonpolitical andsocial themes.Evenif itsnotdirectly
addressedinthe narrative,“cityscapesinvariablyinvoke cultural meaningsaround,forexample,
scientificprogress,urbandecay,nuclearholocaust,andotherpreoccupations”. The upper/lowercity
physical space inMetropolisrepresentthe social classandcultural issues. The cityscape andpolitics
of would“influencethe conceptof virtuallyeveryfilmicportrayal of the future formanyyearsto
come”(Menville &Reginald,1977:3). The architecture,designanduse of diegeticspace “produce a
visible expressionof the societal organizationunderpinningthe film’sfictionalworld”1999:760). The
filmconceivedthe onscreen portrayal of the vertical city,Blade Runner expandedonithighlighting
themesof race,class and space constructingthe future noircity.The chosenfilms were influence by
Metropolisintermsof productiondesignandsymbolismof the worldasone bigcity. Blade Runner
has a cityscape “articulationof powerrelations, intertextuality reworksmetropolisinsignificant
respects,whilstbringingintofocusquestionsof race as well asof social class”1999:77). SF cinema

5. In what ways does science fiction critique surveillance societies?
showsa city representedwithdistinctsectionsof acityscape todaywhile otherpartsare revised.
Staiger1999.
In the architecture of Blade Runnerthatpastiche isdistinctlyvisible andalsothe connection of
postmodernism topost-industrialismisclearinthe film,itishighlightedbetweenpostmodernand
late capitalisminthe film’sdepictionof post-industrial decay.LosAngeles isapostmoderncity
rather thana futuristiccitywith“aestheticof decay,exposingthe darkside of tech-nology,the
processof disintegration”:185). In contrast withthe high-techwasthe decayedwaste,streetsare
alwaysfilledwithtrashbothSebastianandDeckardlive indesertedareasdecaying. Deteriorating
abandonedbuildingsleftto disintegrate.The cityhasrecollectionsof the pastwithstrongsingsof
oriental mythology.The citylooksmore like Hong-KongandTokyothanL.A,Chinese dragons are
neonlights,elevatorshave screensthatarrmade in stone anddeckardsapartmentisreminicintsof
a mayan culture andthe Tyrell corporationoverlooksthe cityinthe sunsetlike the Egyptian
pyramids.“Pastiche,asanaestheticof quotation,incorporatesdeadstyles;itattemptsarecollection
of the past,of memory,andof history”:187).
The openingscene isthe cityscape of explosionsandlightningstrikes withthe Tyrel corporation
dominatingthe skyline.The screenis thenfilledwithablue eye withthe cityandexplosion being
reflected,BladeRunnerHoldenlookingoutthe window abouttointerview areplicant.Fromthe
start it questionsthe audience whether itwashiseye theywere lookingator not, the cityis being
observedwithoutanyone noticing. Eitherwayitleavesaneerie feelinglikethe viewersare being
watched.Thistheme of surveillance isconstantthroughoutthe whole film Are we the viewerbeing
watched?Isthe movie a cinematicVoight-Kampff testuponus? The replicanttakesthe testandhis
eye isbeingmonitoredinascreen,viewersnow are watchingascreendisplayinganotherscreen
withan eye onit watchingbackmakingit symmetrical. The testcanreveal if he isreal or not through
the eye,the replicantbelievesitcancrossthis boundaryandbe human butit’seye reactsdifferently
to a human revealinghislackof realness,eventhough he feelshe ishumanbythought(Ithink
therefore Iam). The eye and‘I’ are at oddswitheachother and thismotif are reference throughout
the whole filmnotjustinreplicants. The scene whereDeckardvisitsthe Tyrell corporation the
artificial owl fly’sbyandlike the replicants the eyesglow. The ideaof the Voight-Kampff device isa
continuoustheme andscary concernnow that in post-2019 and in a digital age where technology
connectseveryone.“Those inpower‘see’more thanthose of inferiorstatusare allowedtoand‘see’
more than theyshould”.The bottomlevel of the cityischaoticand dirty unlike the upperlevel
where itscleanerandorganizedbothphysicallyand hierarchically withTyrell corporationlingering
overthe masses.There isno surveillance onTyrell onlyonthe worldbelowandreplicants,who
watchesthe watchmen?Rachael doesn’tquestionif shesareplicantbecauseshe isfarremoved
fromthe surveillance of the people below.LosAngeles hasturnedintoapanopticon conceptwhere
no one can tell if the otherisbeingwatched soit isbetterto act as if one is creatingparanoia. With
technologyeverywhere blimpswithfoglightsare alwaysbeamingdownatthe city givingthe
impressionthattheyconstantlybeingsurveillancelikeaprisonwhere the manyare be watch by a
few. Itenablesthemtospymakingsure that theyrebel butmore importantlythattheyare fulfilling
theirsocial dutiesproperlyforthe continuousgrowthof the productiontoassure “itseconomy[and]
efficacity,itscontinuousfunctioninganditsautomaticmechanisms”(206). Howeverdue toinvisible
nature it can make the bodyself-aware of itsownactionif the surveillance isthere ornot.Causing
“the inducedparanoiaof not knowingwhenone isbeingwatched”(137).Totalitarianstatescontrols
and explote bodiesandmindthroughdisplinaryforce. Thismakesindivudualsdocile andthe more
obedienttheyare the more productive theyare hence the replicants. Failingtoview itsown
exploitationthe bodybecomessubmissive willinglybyitsideology. The conceptof technophobiais
seeninthisthat technologywill control all problemsandsocietyforthe worse.Los Angeles presents

6. In what ways does science fiction critique surveillance societies?
critical aspectsaroundtechnologyandnature,challengingbinaryoppositions“human/technology,
reason/feeling,culture/nature –that underwrite the conservative fearof technologybyrefusingto
privilegeone pole of the dichotomyoveranother”.39
To conclude,SFcinemaimaginesurbanutopiasanddystopias asalogoriestosocial andpolitical
issuesof the real world.Minorityreportandbalde runnerare cityscapeswithspatial articulationof
powerwiththe upper/lowerclasssystem. “The citiesof SFcinemaprovidesettingsandoftensubject
material stories.Theyinvoke yearningsforbetterwaysof organizingsociety”1999:77 Kuhn Or it
showspeoplesfearof decay,technicismanddangerinthe publicsphere suchassurveillance and
control through a totalitarianideology.ThroughouthistorySFcinemahasshownthatdystopian
societiesreflectissuesof economicsof corporations,class, humannature,new technologyand
surveillance withthat.These visionsof the future were predictedandprojected bythe West
particularly Americawhichseemstobe at the helmforthese pessimistic viewsandare the settings
or inspiredsettingsforSFcities. “Butperhapsthese visionsare the appropriate imaginative
projectionsof asocietythatis destroyingitsowncitiestofinance it‘defence’againstalleged
external enemies (franklin1990:31). Its clearthat dystopiansserve “asa propheticvehicle,for
writerswithanethical andpolitical concernforwarningusof terrible socio-political tendencies.
2003:2 Tom Moylan,RaffaellaBaccolini chapter 0.It seemsthe onlyunimaginable future forcinema
isa betterone. “Perhapsthese moviesare thenseenbestseenasa warnings – whetherornot
intended –notto followthe leadershipof asocietythateitherdoesn’tknow where itsgoingorsees
itsown future ashopeless” franklin1990:31 alienzone
Plan:
What isDystopiawhatdoesit mean?Originshistory,utopia
Basic statson your 2 filmsandhowits displaysdystopianthemesandsurveillance (make the
connectionthatthese 2 filmswere bothadaptedfrombooksbyphillipkdickandtheatrically
released20years apart.
Both are tech-noirsotalkabout that some way
Somethingaboutsurveillance

7. In what ways does science fiction critique surveillance societies?
CommonthemesindystopianfilmslookinWiki- economicslike class,family,identity,politics,
nature,violence,scientifictechnology,Life?,Surveillance,control
Andtypical dystopianclaims:
Defintionofdystopian- Dystopianinthe twentiethcenturyare more oftencritical dystopiasinthat
theyneithercelebratethe possibilityof utopianorentirelyreduce the narrative tototal despair.The
critical dystopiaexploreswaysInwhichthose marginalisedbythe corruptor totalitarianregime can
fightandchange the systemandperhapsmove forward,thusofferingasense of hope aswell asa
visionof hopelessness. Above Tothe deathlincolngeratry
Wall-e
Blade Runner2049
MinorityReport
BIBLIOGRAPHY:
ContemporaryLiterature Vol.38,No.3 (Autumn,1997), pp. 422-446 (25 pages)
licants,Blade Runnerprojectsaworldinwhichtechnologiesof im- age andmemory...talization
withtotalitarianism(or,atleast,unification.[Hutcheonxi]) ..
Literature/FilmQuarterly,Vol.32,No.3 (2004), pp. 186-192 Blade Runnerand the Postmodern:A
Reconsideration
Justbecause you’re paranoid...PhilipKDick’stroubledlife
DouglasR. Menville andR.Reginald,ThingstoCome:AnIllustratedHistoryof the Science Fiction
Film,NewYork:TimesBooks,1977, pp.32—3.