Although perspectives and values change with time, ideas and concepts can transcend. In pursuit of knowledge and technology, society begins to lose a sense of humanity. The 1818 gothic novel, Frankenstein by Mary Shelley and 1982 science fiction film, Blade Runner directed by Ridley Scott although composed over one hundred years apart contain the same concepts on the nature of humanity. Through context and a variety of film and literary techniques both composers were able to convey their purpose of a cautionary warning about the consequences of playing
Texts in Time Frankenstein and Blade Runner Reflection Statement Texts in Time Frankenstein and Blade Runner Reflection Statement HSC Advanced English David Touma HSC Advanced English David Touma Despite a 164 year contextual barrier, the significant values and concerns of Mary Shelley’s 1818 gothic novel Frankenstein are exemplified in Ridley Scott’s post-modern pastiche cult classic film Blade Runner (1982). Both composers demonstrate similar perspectives on common thematic concepts; including the obsession with knowledge, science and technology, the usurpation of the role of god, as well as neglecting filial responsibility and revenge. Despite their differences in context and medium, both are effective in exploring the consequences of their common concepts. Contextually, Shelley explicates romantic idealism as opposed to enlightenment, and the post-industrial European environment, whereas; Scott’s film noir sci-fi echoes issues regarding excessive industrialisation and globalisation, adding voice to Shelley’s precautionary tale. Frankenstein was composed during the Romantic period; which involved challenging previously accepted, scientific statements, regarding the practical and ethical possibilities arising from human enquiries into the sources of life and human knowledge in general.
'The Values of each age are reflected in the texts which are composed in them.' To what extent is this statement true in Frankenstein and Blade Runner? To an extent, a text may reflect the contextual values of the composer and the era of its composition. The text may not only reflect these values, but also challenge, mirror or subvert the ideologies of dominant figures within their respective time periods. Mary Shelley's 'Frankenstein,' an epistolary Romantic novel inspired by elements of the Promethean myth, and Ridley Scott's 'Blade Runner,' a science fiction film known for its promotion of film/tech noir elements are two texts which have come to challenge the dominant paradigms of their time.
The portrayal and role of women, however, varies significantly within these texts. As a result of the differing audience, context and purpose, the story of Edward Scissorhands shows alternative views of the notion of creation, the acceptance from society and the so-called middle class suburbia as well as the concerns raised with them in the original Frankenstein novel. The notion of creation is something that has engrossed the minds of humans since the beginning of time and just as the concept pervades the story of Frankenstein, the idea also lays ground to the story of Edward Scissorhands. Victor Frankenstein’s “fervent longing to penetrate the secrets of nature” and desire to have “A new species … bless me as its creator and source” (Frankenstein) shows evidence of the instability of the church and religion following the period of Enlightenment, where logical reasoning was wholly valued over spiritual or religious beliefs. As the wife of a Romantic poet, Mary Shelley displays a strong Romantic and therefore negative view of Victor’s
One can infer that there are a multitude of reasons, but topping the list would have to be curiosity. The thirst for knowledge is what drives people to try and create something new and unseen. This inquisitiveness is seen in history, but it is also carried into fiction. Examples of this officiousness are demonstrated twice in Mary Shelley’s Frankenstein, by both Robert Walton and Victor Frankenstein. Another real-life example can be seen in the settlers during the colonization of America.
Another postmodern technique used is the elaborate use of playfulness and reality which twists our perception of truth, forcing the audience to question what they’re watching. As an audience, we’re lead to believe within the original filming of Nosferatu, the character Count Orlock was genuinely a traditional vampire. This increases the horror as the narrative plays out as we discover the twisted expectations of Murnau, the director of Nosferatu. Shadow of the Vampire uses intertextuality by using direct scenes from Nosferatu as well as directly referring to Dracula in the questioning the vampire scene. By using these features of the times to create a new substantial text aspects from others.
When comparing Mary Shelley’s 1818 Gothic novel ‘Frankenstein’ and Ridley Scott’s 1982 sci-fi film ‘Blade Runner’, the distinctive contexts are accentuated through the fundamental commonality regarding the misuse of power. This issue is foremost addressed in Shelley’s 19th century context of the Industrial revolution; a period of unprecedented scientific endeavour where the world was on the brink of destruction due to technological and scientific advances. This issue is extrapolated forward in Blade Runner, portraying the effects of two hundred years of industry and technology – the creation of a dystopian, apocalyptic society where the forewarned consequences of misuse of power are commonplace and all natural order is absent. Essentially, the symbiotic relationship between the two texts condemns humanity’s desire for power and highlights the two distinctive contexts and how they affect the representation of this idea in both texts. Throughout Frankenstein, Mary Shelley’s warning against the abuse of power and interference with natural forces permeates through the character of Victor, whose obsession with power taints his moral compass and subsequently causes him to tamper with nature.
The Novel Frankenstein, by Mary Shelley and the film Blade runner by Ridley Scott, though composed in different centuries, share a number of common key issues including the excessive ambition and the lengths one will go to achieve that desires; the importance of nature to society; and what true humanity is. By considering the two texts together, we gain a clearer understanding of the issue within and significance of each text. Both texts warn about the terrible consequences of excessive ambition as the motivation is predominately selfish, rather than for the common good. Both Victor and Tyrell are blind to the results of their irresponsible scientific experimentation and so both suffer grievously at the hands of their creation, not considering the extreme consequences of medalling with nature, We feel an empathy towards the creatures rather than the creators due to their indecent and morally wrong acts, and also their reactions. Tyrell is a god-like individual who represents corporate greed, ambition and the willingness to sacrifice mortality and humanity.
Stoker makes continued use of symbols and objects throughout the novel in order to further strengthen on this idea. Through these means, Stoker provides a stunning insight into the values and attitudes that typified London in the final years of the 19th Century. The consequences of science and technology and overall, modernity, are brought into question quite early in the novel. As Jonathon Harker becomes uneasy with his accommodation and host in Castle Dracula, he
Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1981) are both a representation of their composer’s contextual anxieties. By developing a deeper understanding of the composer’s context, the (underlying messages in the text is met.) The comparison also shows that despite being separated by over a century, the interpretations of the authors on the paradigms of nature, science and humanity (meet on similar lines, creating a timeless effect). Frankenstein, composed during the 19th century, a period of revolt, the French Revolution being an iconic event heavily influenced the theme of ‘usurpation of power’ that (frolics in the novel). The 19th century also saw a time of great scientific breaches such as Galvani and his Galvanism,