Allusions in Blade Runner

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Allusions in Blade Runner Blade Runner arose out of a post-modernist society, as is evident by the many illusions found and Postmodernism's focus on mixing previous ideas and arts to create something new. There are subtle and direct intertextual references within the film’s dystopic depiction of mankind's loss of humanity and an inability to recognize a difference between the natural and the artificial. Filmic Allusions Stylistically, Blade Runner borrows from previous films and film movements to set specific moods and allow is heavily influenced by the film noir movement of the 1940s and '50s. Rachael’s clothing and hair styles are reminiscent of the film noir style. Many scenes are cast in dark shadows with lighting used to embody conceptual ideas of alienation and dehumanisation. This style began with the elaborate sets and Mise-en-scene elements found in German Expressionist films of the '20s and 30's. The bright pyramid/temple of the Tyrell Corporation elevates the company's superior status, casting it in a completely contrasting manner to much of the rest of the film and placing it looming over a decimated Los Angeles. Many of these allusions, as well as others with many different interpretations, can be seen within the establishment shot of Blade Runner. As the camera pans across a futuristic Los Angeles, the oppressive cityscape is reminiscent of Fritz Lang's iconic Metropolis, where the ubiquitous technological city is as much a machine as the people in it. This is enforced as the camera moves towards the Tyrell Corp's headquarter pyramid, similar to some of the buildings of importance in Metropolis. Much of this futuristic mise-en-scene has been paralleled with Metropolis, but another interesting connection to be made is that between Racheal, the fabricated woman of importance to the main character Deckard, and the object of Rotwang's desire in
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