Is Deckard a Replicant? Do you like this video? Despite the initial appearance of an action film, Blade Runner operates on an unusually rich number of dramatic levels.
That is what the time when my mother was alive before me is--History. No anamnesis could ever make me glimpse this time starting from myself--whereas, contemplating a photograph in which she is hugging me, a child, against her, I can wal;en in myself the rumpled softness of her crepe de chine and the perfume of her rice powder.
The replicants are perfect "skin jobs," they look like humans, they talk like them, they even have feeiings and emotions in science fiction the ultimate sign of the human. What they lack is a history.
For that they have to be killed. Seeking a history, fighting for it, they search for their origins, for that time before themselves.
She has a document--as we know, the foundation of history.
Her document is a photograph, a photograph of hermother, hugging her, a child, against her, wakening in her the rumpled softness of, most probably, a hamburger. History is hysterical; it is constituted only if we look at it, excluded from it. That is, my mother before me--history.
Roughly, we might distinguish three positions: Thus answers the replicant Leon when asked about his mother; he then kills his questioner.
The literature is bv now extensive, if not particularly distinguished. I wish to analyze, in particular, the representation of narrative space and temporality in Blade Runner.
For this I will use two terms, pastiche and schizophrenia, in order to define and explore the two areas of investigation. In his essay, "Postmodernism and Consumer Society"4 and in the later, expanded version, "Postmodernism, or the Cultural Logic of Late Capitalism,"5 Jameson suggests that the postmodern condition is characterized by a schizophrenic temporality and a spatial pastiche.
The notion of schizophrenia which Jameson employs is that elaborated by Jacques Lacan. With pastiche there is an effacement of key boundaries and separations, a process of erosion of distinctions.
Pastiche is intended as an aesthetic of quotations pushed to the limit; it is an incorporation of forms, an imitation of dead styles deprived of any satirical impulse. Pastiche and schizophrenia will thus act, in the economy of my argument, as what Umberto Eco calls umbrella terms, operational linguistic covers of vast and even diverse areas of concern.
My discussion of postmodernism and Blade Runner will involve a consideration of questions of identity and history, of the role of simulacra and simulation, and of the relationship between postmodernism, architecture, and postindustrialism.
Pastiche It is useful to note that Jameson has derived his view of postmodernism from the field of architecture: Jameson, "Cultural Logic," p.MODERNISM, POSTMODERNISM AND FILM CRITICISM Film theory within the discursive space of critical modernism strove to reveal the work of the text – especially its attempt to position the spectator, to keep the world firmly within the parameters of capitalism and patriarchy and heterosexuality.
As pointed out by Jameson, “It is in the architectural layout of Blade Runner that pastiche is most dramatically visible and where the connection of postmodernism to postindustrialism is evident” (quoted in Bruno, ). Eye symbolism appears repeatedly in Blade Runner and provides insight into themes and characters therein.
The film opens with an extreme closeup of an eye which fills the screen reflecting the hellish landscape seen below. Indeed, postmodern readings of Blade Runner often fail to address the substantial question as to whether postmodernist aesthetics are reconcilable with narrative forms, or indeed with film in general.
There are significant structural difficulties in defining what constitutes a postmodern film, which arise, in part, from ambiguities in the notion of postmodernism itself. 5. TASK: BLADE RUNNER AS METAPHOR OF THE POSTMODERN CONDITION You will what the film ‘Blade Runner’ by Ridley Scott.
analyse the discourse of the film and answer the questions below: 1. The theme of androids vs. humans. waste and recycling?
How is the ‘wearable art’' of late capitalism a sign of postmodernism? 9. Transcript of Why is Blade Runner Postmodern?
- Nick Lacey argues that director Ridley Scott decided to shy away from a postmodern view of the world as Blade Runner was “a production of mainstream cinema only films with an independent sensibility are able to fully represent the disturbing post.