Simultaneously it suggests that mans’ greed and lust for power that provokes such technological advances and the adaptation of shallow values, such as consumerism and materialism, that accompany these advances may result in mankind’s efforts to recover from the damage it causes being all too late. Pixar highlights these issues through powerful filmic technics. Wall-E frighteningly projects a desolate Earth landscape destroyed by activities associated with technology and consumerism along with the vulnerability of a society reliant on technology. Overhead shots in the opening scene of a former urban environment, in conjunction with dull colouring depict a bleak and desolate landscape resembling a giant industrial wasteland. This is further reflected through low camera angles that emphasize the immensity of industrial waste, rubbish and pollution existent on Earth.
Instead, Scott’s film extends upon the premise established by Shelley in her novel. In Frankenstein, the monster is perceived as a sin against nature, viewed by its creator as a “vile insect”, a “filthy daemon” that is “more hideous than belongs to humanity”, a Gothic disturbance of the order of the natural world and the threat against the purity of nature. Similarly, the grand fireballs rising above the extreme long shot of the futuristic Los Angeles cityscape, symbolic of the hell of St Elmo’s fire, the grim film noir colour palette and the highly saturated, artificial neon lightning of the streets demonstrate the absence of anything natural in Scott’s futuristic dystopia. Despite her perversion of nature, Shelley’s inexorable ties to the Romantic Movement grant nature a sense of omnipotence unperturbed by Frankenstein’s monster, where “immense mountains overhung me on every side – the sound of the river raging among the rocks, and the dashing of the waterfall around, spoke mighty as omnipotence.” Whilst Frankenstein suggests a prelude to the destruction, it is never achieved. Blade Runner, however, extends upon this value, suggesting that the corporatisation of humanity’s scientific advancement has and will continue to destroy nature.
While both characters are highly intellectual and highly dismissive of the populace at large, his immorality and lack of ethics come to embody Day’s cynicism towards the morality of modern society in general. In particular, Harry is a proponent of technology as a means to committing murder and crime. Mark Bannister’s heart, is electronically stopped at Harry’s command: ‘it all comes down to pulse, the rhythmical throbbing of arteries, the throb of life. And death’. The technology used to murder becomes symbolic of both the corruption Day believes to be at the heart of modern Australian society, or perhaps all of western society, but also the negative possibilities of technological progress in general.
Ironically the film, ‘Blade Runner’, is set in Los Angeles, “The City of Angels” however it does not reflect the peaceful city of angels but rather a city of hell. In the opening shots it can be seen that the city is dominated by the artificial and technological driven world. The city is portrayed as one of darkness and pollution as a result of the Tyrell Corporation. Dr Tyrell is the embodiment of these large companies’ irresponsible obsession with profit. The polluted world is shown through the panning shots of the streets portraying a dismal world with the no sign of the natural world.
The mournful soundtrack creates a dismal and despairing atmosphere, with its low pitch shaping the overall gloomy feel of the setting. There is a distinct contrast between the two ‘worlds’ that the society is broken into, with the film’s inter-titles reading, “Beneath the earth lay the City of the Workers” and “High above towered the complex known as the ‘Son’s Club’”. The juxtaposing of the two worlds is dramatic, with men in white preparing to run in a setting reminiscent of the Colosseum. Their hyperbolic movements combined with the lively, high
As we reach the context of Scott’s sci-fi film Blade Runner, the spread of urban sprawl has ridden the world of its natural beauty. The environmental degradation caused by the rising industrialization of the 1980s is highlighted through a panoramic shot of the city of Los Angeles, revealing an endless urban wasteland dotted with flames. Scott continues to expose the ugliness created by technology through panning shots of
“The beauty of the dream vanished and breathless horror and disgust filled my heart.” As the reader acknowledges this it give a nauseating impression towards Victor, but also a shocking undisguised impression of hatred. In chapter 11 we learn to understand Frankenstein when he narrates his flashback. “In my joy I thrust my hand
However, ‘Brave New World’ differs to ‘Blade Runner’ as Huxley’s world is not as concerned with the destruction, but rather humanity becoming vastly separated form nature due to everything being controlled. Huxley’s context also played a significant role in the definition of the future. During the early decades of the 20th Century, the desire for stability saw the development of a number of fascist and totalitarian states throughout Europe. These states sought to obtain the people and their minds. In Huxley’s world of the World State, humanity is conditioned to reject the nature as the natural rhythms of birth and ageing as well as emotions that are evolved when in contact with nature are considered to threaten the stability of civilization.
The bird’s eye view camera angle panning through the city towards the pyramid of Tyrell symbolizes that his desire has succeeded, however taken over the world. There is a strong absence of all natural aspects as the excessive use of artificial light reinforces the idea that humanity’s creations have taken over the world. There is a lack of humanity and physicality throughout the scene positioning us to understand the destructive affect and the interaction is caused by humanity’s need to champion and destroy nature’s miracles. Furthermore through the juxtaposition of the illuminating pyramid and the gloomy atmosphere of the city the audience is positioned to understand that Tyrell has championed his objective and is oblivious to the affect his creations have had on the world due to his pride. While keeping the context in mind the viewers further their understanding of Scott’s warning about the dangers of tampering with nature if humanity continues to advance their knowledge and overtake the natural
Alyxandria Quinones Frankenstein Motif Essay AP Lit Pd. 8 12-13-11 Alienation: The Real Pandora’s Box An innate craving for companionship and compassion is a quintessential element of human nature. Consequentially, a denial of these cravings results in a slow descent into an exceedingly miserable and unfulfilling existence. The demoralizing effects of alienation are a reoccurring aspect of Mary Shelley’s gothic novel Frankenstein. As exemplified by both Dr. Frankenstein and his monster, prolonged estrangement from society essentially rips the lid off Pandora’s notorious Box, prompting self-destruction and magnifying the human tendency to harbor resentments towards a society that has become foreign to them.