9 Tears in the Rain: Tourism in the World of Blade Runner and Total Recall

2022 ◽  
pp. 109-118
Peter Bolan
Blade Runner ◽  
2016 ◽  
pp. 85-88
Sean Redmond

When Blade Runner was first released we were very much living in the analogue and (late) industrial age. Today, of course, the world is a digital one and for many people is fully augmented. In a very real sense the prophecies found in the future world of ...

Clara Fernandez-Vara

The video game adaptation of Blade Runner (1997) exemplifies the challenges of adapting narrative from traditional media into digital games. The key to the process of adaptation is the fictional world, which it borrows both from Philip K. Dick's novel Do Androids Dream of Electric Sheep? (1968) and Ridley Scott's film Blade Runner (1982). Each of these works provides different access points to the world, creating an intertextual relationship that can be qualified as transmedia storytelling, as defined by Jenkins (2006). The game utilizes the properties of digital environments (Murray, 2001) in order to create a world that the player can explore and participate in; for this world to have the sort of complexity and richness that gives way to engaging interactions, the game resorts to the film to create a visual representation, and to the themes of the novel. Thus the game is inescapably intertextual, since it needs of both source materials in order to make the best of the medium of the video game.

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 38 ◽  
Frenchy Lunning

Our future effects on the earth, in light of the Anthropocene, are all dire expressions of a depleted world left in piles of detritus and toxic ruin—including the diminished human as an assemblage of impoverished existence, yet adumbrating that handicapped existence with an ersatz advanced technology. In the cyberpunk films, these expressions are primarily visual expressions—whether through written prose thick with densely dark adjectives describing the world of cyberpunk, or more widely known, the comic books and films of cyberpunk, whose representations have become classically understood as SF canon. The new films of the cyberpunk redux however, represent an evolution in cyberpunk visuality. Despite these debatable issues around this term, it will provide this paper with its primary object of visuality, that of the “rich sight”, a further term that arose from the allure created in the late 19th century development of department stores that innovated the display of the goods laid out in a spectacular view, presenting the shopper with a fantasy of wealth and fetishized objects which excited shoppers to purchase, but more paradoxically, creating the desire to see a fantasy that was at the same time also a reality. This particular and enframed view—so deeply embedded and beloved in our commodity-obsessed culture—is what I suggest so profoundly typifies the initial cyberpunk postmodern representation in the Blade Runner films, and its continuing popularity in the early part of the 21st century. Both films are influenced by Ridley Scott’s initial vision of the cinematic cyberpunk universe and organized as sequential narratives. Consequently, they serve as excellent examples of the evolution of this visual spectacular.

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 568-576 ◽  
Michael Bérubé

After a decade of working in disability studies, I still find myself surprised by the presence of disability in narratives I had never considered to be “about” disability—in animated films from Dumbo to Finding Nemo; in literary texts from Huckleberry Finn to Joan Didion's Play It As It Lays; and, most curiously, even in the world of science fiction and superheroes, a world that turns out to be populated by blind Daredevils, mutant supercrips, and posthuman cyborgs of all kinds. Indeed, I now consider it plausible that the genre of science fiction is as obsessed with disability as it is with space travel and alien contact. Sometimes disability is simply underrecognized in familiar sci-fi narratives: ask Philip K. Dick fans about the importance of disability in Do Androids Dream of Electric Sheep? and you'll probably get blank stares. But the Voigt-Kampff empathy test by which the authorities distinguish humans from androids was, Dick tells us, actually developed after World War Terminus to identify “specials,” people neurologically damaged by radioactive fallout, so that the state could prevent them from reproducing. That aspect of the novel's complication of the human-android distinction is lost in the film Blade Runner, but the film does give us an engineer with a disability that involves premature aging, which links him intimately to the androids who have life spans of only four years.

1995 ◽  
Vol 1 (3-4) ◽  
pp. 175-189 ◽  

Religions ◽  
2019 ◽  
Vol 10 (11) ◽  
pp. 625
Leah D. Schade ◽  
Emily Askew

This paper examines the theme of relational theology in the Blade Runner science fiction franchise by exploring the symbolism of eyes and sight in the films. Using the work of ecofeminist theologian Sallie McFague, we explore the contrast between the arrogant, detached eye of surveillance (what we call the “gods’ eye view”) which interprets the other-than-human world as instrumental object, and the possibility of the loving eye of awareness and attention (the “God’s eye view”) which views the other-than-human world as an equal subject with intrinsic value. How the films wrestle with what is “real” and how the other-than-human is regarded has implications for our present time as we face enormous upheavals due to climate disruption and migration and the accompanying justice issues therein. We make the case that the films are extended metaphors that provide a window on our own dystopian present which present us with choices as to how we will see the world and respond to the ecological and humanitarian crises already upon us.

Valerie Su-Lin Wee

THE MOST POETIC SUBJECT IN THE WORLD: OBSERVATIONS ON DEATH, (BEAUTIFUL) WOMEN AND REPRESENTATION IN BLADE RUNNER WESTERN culture has a long tradition of associating death with femininity and sex. Whether it is Snow White or Bluebeard's wives, Clarissa or Madame Bovary, Carmen or Madame Butterfly, representations of dead and dying women fascinate and disturb. A Greek motto from Palladas states that "Every woman is as bitter as gall; but she has two good moments, one in bed, the other at her death" (quoted by Mérimée, 181). According to Edgar Allan Poe, "the death of a beautiful woman is, unquestionably, the most poetic subject in the world" (19). Thomas de Quincey acknowledges ". . . with the love that burns in depths of admiration . . . that you [sister woman] can do one thing as well as the best of us men -- a greater thing than even...

2018 ◽  
Vol 41 ◽  
Ana Gantman ◽  
Robin Gomila ◽  
Joel E. Martinez ◽  
J. Nathan Matias ◽  
Elizabeth Levy Paluck ◽  

AbstractA pragmatist philosophy of psychological science offers to the direct replication debate concrete recommendations and novel benefits that are not discussed in Zwaan et al. This philosophy guides our work as field experimentalists interested in behavioral measurement. Furthermore, all psychologists can relate to its ultimate aim set out by William James: to study mental processes that provide explanations for why people behave as they do in the world.

2020 ◽  
Vol 43 ◽  
Michael Lifshitz ◽  
T. M. Luhrmann

Abstract Culture shapes our basic sensory experience of the world. This is particularly striking in the study of religion and psychosis, where we and others have shown that cultural context determines both the structure and content of hallucination-like events. The cultural shaping of hallucinations may provide a rich case-study for linking cultural learning with emerging prediction-based models of perception.

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