Question (similar to): How effectively does Ridley Scotts Blade Runner (1982) extrapolate

on issues first explored by Mary Shelleys Frankenstein (1818)?

This is an actual response written in the 2014 CSSA Trial Exam by a Band 6 Advanced
English student. It received 20/20.

WORD COUNT: 1045 Words

Traditional opinions in regard to the nature of the human condition have not remained
static, but rather, have developed and changed across contexts. Thus, composers across time
will continue to consider what it means to be human in different ways, as to remain relevant
to their contextual purpose and audience and to universal responders. Such can be seen in
comparison of Mary Shelleys gothic horror novel, Frankenstein (1818), and Ridley Scotts
postmodern tech noir film, Blade Runner (1982). Scott, in consideration of what it means to
be human, has extrapolated on issues first considered in Shelleys context, such as the
natural order of humanity, the human emotional condition, and notions of mankinds
ambition. In comparing these two generic texts, we can determine that Scott has composed
an effective consideration of these issues, appropriated for a contemporary audience and
form.

The idea of a natural body of laws, that unseen forces dictate the natural (normal) order of
things, has remained a relevant thematic concern across contexts. In comparing the work of
Shelley and Scott, we can see how Scott has appropriated this timeless question of humanity
into a contemporary context. Shelley considered notions of natures power from a
romanticist standpoint, challenging ideas of the Enlightenment through powerful
personification of nature as the spirit that inhabits and guards this place. Indeed, her
effective use of character foil between Victor and his Creation, forces us to consider the
interactions between the natural and the nurtured through their dramatic dialogue in the
text. By considering Victor as a symbol of mankinds quest to be greater than his nature will
allow, and the consequences of this foreshadowed through epistolary narrative form, we
are effectively informed of the consequences of overstepping natural bounds. Scott
effectively brings these issues to light for contemporary audiences, with his advertising
background clearly evident in complex mise en scenes. The opening panoramic shot, for
example, through chiascuro lighting and enhanced diegetic sound, effectively creates a
destructive world space as a backdrop for our consideration of the destruction of nature. A
similar effect is achieved through the claustrophobic mise en scene of Zhoras retirement, as
we come to consider the contextual consequences of over urbanization. Truncated dialogue
delivered with a complete lack of emotion, such as Its too bright, quickly lead to our
establishment of the protagonist as a symbol of mankinds rejection of natural law and
natural forces. Its artificial? Of course it is, is another such nihilistic exchange, as Scott
effectively uses his filmic form to consider the complete loss of natural elements in his world
space. Thus, we can see how Shelley, through literature, and Scott, through film, have both
explored the natural order as a thematic concern.
Human emotions remain a relevant concept of discussion in texts across time. Shelley and
Scott have both considered, in their respective forms, the ideas which characterize the
human condition. Shelley quickly establishes Victor as a symbol of the Enlightenment period
of her context, with his ardent desire for the acquisition of knowledge expertly juxtaposed
with the passions of his Creature. Indeed, Shelley seeks to consider and challenge the notion
of Galvanism, through the powerful, emotive word choice typical of Romanticism; the
beauty of the dream vanished, and breathless horror and disgust filled my heart. In this, we
are invited to consider the human qualities of Victors abhorrent wretch, and we are
intrigued by Shelleys characterization of the creature as sophisticated and calm. The
emotion in the line, You can blast my other passions, but revenge remains, utilizes an
effective metaphor to force us to question the humanity of the Creature, perhaps more
human than his Creator. Similarly, Scott utilizes close ups to accentuate Battys declaration
that I think, therefore I am. Dehumanising dialogue such as How can it not know what it
is? is outweighed and challenged by Battys tears in the rain monologue, as Scott seeks to
challenge the ideas of genetic engineering through chiascuro lighting and non-diegetic
sound. The opening shot, an extreme close up of a human eye, goes further; as we are
demanded to consider our own humanity. Thus, we can see how Scott and Shelley have each
taken a didactic approach in exploring human emotion, with Scott effectively bringing the
issue into a contemporary context.

The ambition of mankind, and subsequently, an apparent lack of responsibility, remains

contextually relevant to composers across time. Both Scott and Shelley explore this notion
through the concern of the Promethean Myth, as we are forced to consider the
consequences of societal overreaching. All characters are shown with ambitious tendencies
in Shelleys gothic horror, with typical generic conventions appropriately accentuating the
utter and terrible destruction of all at-fault parties. Waltons desire to obtain a niche in
the temple, is made to resonate with Shelleys contextual audience through quasi-religious
imagery. The epistolary narrative form foreshadows the destruction of Victor and his
creation, but the simple, non emotive line, I shall collect my funeral pile, provokes
audience consideration, as we view the Creature as more responsible than Victor, an
effective appropriation of the Promethean Myth. Scott similarly accentuates the
Promethean overreaching of Tyrell, through clever, clerical decoration and mise en scene to
characterize the God of Biomechanics. More human than human is another clear
challenge of genetic experimentation, which allows us properly consider the consequences
of scientific ambitions. These are further, bluntly, re-enforced through close ups of Tyrells
violent demise, as even Batty is shown to be driven to violence by ambitious tendencies; I
want more life, fucker. As such we can see how the consequences of ambitions without
responsibility are explored in Shelley and Scotts respective forms and context.

The nature of the human condition will continue to be considered by composers across time.
The issues of natural laws, human emotions, and the ambitious tendencies of mankind, will
remain relevant, provocative thematic concerns to be explored across different contexts and
forms. We can see how these issues were first raised by Shelley, composing a science fiction
text to question the direction of societies humanity. Scott has effectively appropriated these
ideas for contemporary audiences, capitalizing on his filmic form to deliver an effective
consideration of what it means to be human, which is effective not only for contextual
purposes, but as universal exploration of the nature of humanity.