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• W13377046 abstract "... prehensile hands exchange forgeries of what heart dare not surrender.--Gaddis empire of signs foregrounded Ridley Scott's postmodernist film Blade Runner, Director's Cut (1982) is not twentieth century Japan as described in Roland Barthes' semiotic study of Nipponese culture, but an Asianized futuristic America. By illustration, a city landmark provides central visual motif: a gigantic advertising sign presenting a sound and light show with a liberated, hip geisha girl extolling virtues of Coca Cola (both soft drink and hard drug) functions as a classic past/present/future simulacrum while fulfilling lyric And people bowed and prayed, to neon sign they made in 1960s Simon and Garfunkle ballad The Sound of Silence. Structurally, film treats Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep? in a series of stark scenarios featuring wide angle shots panning a fantastic urban skyline; focused, swarming street scenes; and vast, labyrinthine interiors in a neogothic mansion haunted by devil dolls and murderous cyborgs. Blade Runner, like Roman Polanski's Chinatown (1974), revisits classic film noir of 1940s by following formula and adding techniques such as thematic intertextuality and elements of pop culture. As in early film noir, environment does not simply provide a neutral background for action. Throughout film, then, clashing images that inform Scott's hyper-real, darkly imaginative setting complement problematized status of human/android characters, along with their motives and relationships, as firmly established by ambiguous dialogue in opening street scene. Rick Deckard, putative hero, orders a bowl of noodles from an Asian street vendor, when an airborne police hovercraft lands nearby. Immediately thereafter Lieutenant Gaff from headquarters addresses Deckard (who studiously ignores him) in futuristic street dialect. counterman provides a translation: VENDOR. He say you under arrest. DECKARD. Got wrong guy, pal. VENDOR. He say you brade runner. Rick Deckard, of course, proves to be detective, a specialist in retiring (i.e., destroying) androids, with an unassailable record: need ya, Deck. I need blade runner.... I need your magic, Chief Bryant pleads. Deckard in fact unknowingly speaks truth in flatly denying his identity, for in psychoanalytic fashion, old blade runner says more than he intends. Indeed, Rick Deckard is the wrong guy in several respects as plot reveals early on. Paradoxically, although Deckard clearly functions as protagonist, character with whom we identify, actual hero, character essential to central plot and theme in Blade Runner, is not hunter, but hunted. Namely, Roy Batty, a cyborg combat model who has orchestrated a mutiny among several fellow replicants and jumped ship in pursuit of impossible dream: freedom and immortality. Thus, terms protagonist and cannot, in this instance, be used interchangeably, although of course they interact, thus blending (unconventional) love story with quest/revenge play. Significantly, literary precedents obtain: for example, critics have long addressed ambiguous status of God, Adam, Satan as candidates for hero in Milton's Paradise Lost, as Blake was first to observe obliquely by pointing out that the reason Milton wrote in fetters of Angels & God and at liberty when of Devils & Hell, is because he was a true poet and of devil's party without knowing it (Blake 74-75). In Blade Runner, an ordinary man is juxtaposed with an extraordinary android. Rick Deckard's perspective provides privileged left (first) element of binary structure--human/non-human--whereby essential human qualities such as professional duty, loyalty, compassion, and love are (owing to point-of-view) both foregrounded and simultaneously brought into question--not solely with respect to cultural norms as in a conventional plot, but in light of definable traits. …" @default.
• W13377046 created "2016-06-24" @default.
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• W13377046 date "2011-05-01" @default.
• W13377046 modified "2023-09-28" @default.
• W13377046 title "The Indeterminate Sign in Ridley Scott's Blade Runner, Director's Cut" @default.
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