Context in Frankenstein and Blade Runner Essay

The context of the conviction of writing is an full part of a texts composition and ideas. This notion is lucid in Mary Shelleys Frankenstein (1818) and Ridley Scotts 1982 science fiction film, weathervane Runner. They twain address ideas contemporary at the time, tho are both interconnected finished a common questioning of what may gamble if humans attempt to play god. As a romanticist, Shelley condemns Frankensteins meddlesome attempt to play the creator. Scott spurns mans ruthless competition through a dystopian environment created through ruthless quest for wampum by commercially dominant, greedy corporations. Both texts employ techniques such as allusion and characterisation to depict similar dystopian visions ensuing from mans dereliction of nature.Composed during the Industrial Revolution at a time of increased scientific experimentation, Shelley warns and forebodes her enlightened society of the consequences which come about from play god. She uses Victor Franken stein as her platform, whose self-exalting line many excellent natures would owe their universe to me represents a society engrossed with reanimation. Recurring mythical allusions to Prometheus, how dangerous is the science of knowledge portray Victor as a tragic pigboat a noble character whose fatal flaw of blind ambition ultimately results in his own downfall and dehumanization, swal small(a)ed up every tog of my nature. In addition, Victors impulsive rejection of his grotesque creation, leads to the hellions rebellion (vowed eternal hated and vengeance to all existence).Despite the mismatch in time and context, Scott also incorporates similar elements of horror, but procures a man- do cataclysm that is a product of his own need to achieve commercial dominance. Unlike Shelleys moralistic warning, the flames in the col scene highlight a dystopian man that has already reached an unenviable outcome. Revising Victors undermining of Gods prerogative, Scott conveys Tyrells cap italist fixation through his mantra commerce is our goal. The composer reinforces this through multiple low angle shot of Tyrells monolithic corporation, highlighting its command everyplace its depressing urban surroundings. By doing so, Scott denounces the arrogance of corporate giants and their reckless sack for the proletarians.Furthermore, Scotts reflection of a society engulfed within Cold-war paranoia of a electric potential nuclear disaster is depicted through Tyrells violent devastation at the hands of his own creation, Batty. Here, Tyrells scream as Roy ruptures his myopia-riddled eyes, a metaphor of his blind ambition, creates an ambience of utmost horror as responders go steady how mans hubristic desire to achieve utmost power results in his destruction. However, unlike Shelleys critique of heedless scientific pursuit, Scotts spatial relation has shifted to that of mans capitalist voracity and is a reflection upon the twentieth centurys fast expansion of multinatio nal corporations.In affinity to Shelleys discourse, Scotts manifestation of a plain, industrialised world is his qualm that technological progression has already discerned mans divergence from nature. In the films opening sequence, Scott portrays his dystopian society through film-noir elbow room of perpetual darkness, where the superficial worlds only source of sparkle is from the glow of man-made neon lights. Moreover, the composers representation of a world ravaged by technological expansion is symbolised through the absence of unquestionable fauna and their substitution with artificial fauna.However, in light of Shelleys incubate of sublime nature, Scott also conveys how the presence of nature can facilitate the forecast of spiritual renewal proposing its entire restoration. The composer denotes this through his transient but brainy depiction of Deckards fleeting unicorn dream. Contrary to Shelley, however, Scotts depiction of nature within a subliminal dream is metaphor ical of his belief that rapid technological innovation has already superseded the position of nature. Therefore the films 20th century context encompassing fears ecological degradation evokes his reprehension that rapid technological progression may already have made impossible a possible return to nature.