industrial imperialism, automation and androids in the future of ‘Blade Runner’ (1982)

Ridley Scott’s Blade Runner (1982) takes place in an exotic future of the universe. It’s a film that proposes the unquestionable possibility that earth could be in possession of one corporation in the near and/or distant future. The “big brother” atmosphere of earth has officially made itself known as the all-seeing eye. The planet is owned by two to three corporations representing industrial imperialism vs socialism. In the film, the future New York City – the center of the universe – is Hong Kong; futuristic dark-ages. In the year 2019 of Blade Runner, the world’s population has invaded the cosmos with an overload of inhabitants. Asian ethnicities have clearly become the majority of the masses with characters prevalent throughout The Final Cut of Ridley Scott’s magnum opus – a graphic film. “Blade Runner” is essentially another term for private-eye. Essentially, the word replicant is a name akin to Genetics, as opposed to calling them Androids. The “replicant” is an Android; humanoid; automaton; a bionic person.

Harrison Ford and Edward James Olmos on the set of “Blade Runner”, directed by Ridley Scott. (Photo by Sunset Boulevard/Corbis via Getty Images)

Stanley Kubrick’s 2001: A Space Odyssey was formative to the thesis presented in Blade Runner. Ridley Scott’s brother, Tony Scott, directed a powerful scene pertaining to the “primate vs. human” aspect in his film The Hunger (1983) – combining images of a disintegrating monkey intercut with an aging vampire. On Blade Runner, Ridley Scott devised an urban-futuristic view supporting the notion that modern science will be able to replicate human beings for slave labor and/or the forefront of militant forces capable of invading any location where replicants are commanded for combat and/or intergalactic purposes. Blade Runner conveys the possibilities of science – in terms of settling upon planets within the solar system with automation – are possible in the distant future. In addition, Blade Runner contains a theme that alludes to the erotic sexuality behind the idea of replicating females for controversial use. The film adverts to this theory as a rampant probability in forthcoming times. These notions are what Ridley Scott conveys through underlying themes in the film; extremely shocking clones for the use of futuristic slavery. Deckard (Harrison Ford) represents a space-age system that could be possible; Detectives specifically assigned the task of tracking humanoids possessing implanted pseudo-memories. The cross-collateralization of an idealistic notion pertaining to the exact moment a mainframe supercomputer planted inside a bionic person begins to experience humanlike telepathies like clairvoyance, and/or sensations, is the thesis of this film. At what point does a robot begin to have feelings that stem from the pseudo-memories implanted in its electronic psyche? Ultimately, this state pertains to Deckard’s questionable existence upon the film’s ending.

Harrison Ford on the set of “Blade Runner”, directed by Ridley Scott. (Photo by Sunset Boulevard/Corbis via Getty Images)

Humanoids to service humanity within a back-breaking workforce, in addition to fighting as expendable militant slaves who attend to environmental sites that contain drastic conditions ordinary citizens would typically avoid. Blade Runner paints a future that contains a real sense of mass concentration within earth’s burden of inhabitants, in addition to a robust Asian society dominating the majority. Ridley Scott envisioned machine-driven automatons commanding humans and clones due to a surplus of contaminated electromagnetic radiation being permeated through the airwaves, in addition to an overload of machinery caused, and created, by the masses. Another element conveyed in the film was the justification behind Ridley Scott’s initial voice-over in the ending of the theatrical cut, and its removal from The Final Cut. The film explains, when you’re a replicant, suspicion and obsession is spawned within one’s self which can lead one to believe he or she might be a clone. Deckard nods his head after a moment of contemplation when experiencing this dilemma. His expression in the end is one of validation and understanding. This almost answers the question of whether he’s a replicant. Or does his expression merely allude to his acceptance of their false perception, while maintaining awareness of a greater, personal truth: he’s still human.

Harrison Ford on the set of “Blade Runner”, directed by Ridley Scott. (Photo by Sunset Boulevard/Corbis via Getty Images)

Ridley Scott’s Blade Runner grossed $41,658,652 on a $28 million budget. The film won 3 BAFTA Awards, in addition to being nominated for two Academy Awards in 1983.

Ridley Scott’s Blade Runner: The Final Cut (1982) – Trailer

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