ISP Week 23: Blade Runner Essay

Week 23 ISP: Blade runner essays 

Essay Questions: 

1. ‘Blade Runner’ is a typical example of New Hollywood cinema’. Explore this statement with reference to at least one scene from the film and with a consideration of its production, social/political/historical contexts. You should identify and discuss the traits of New Hollywood cinema and the extent to which they are apparent in the film. (20 marks)

The film Blade Runner is a typical example of New Hollywood cinema in the 80s as firstly, it explores European influences for example German expressionism. An example of when this is seen in the film is during the opening sequence where we see the development and change of LA as a city. This was inspired by Fitzlang’s ‘Metapolois’ which during the second world war was an influence for German propaganda. Similarly, Nazi Architecture can also be seen as an European influence as the Tyrell building reflects Nazi Architecture designed by Albert Spear, which is a clear European influence from the second world war. Next in terms of New Hollywood’s traits, in the ending sequence Scott explores the use of more graphic scenes. For example, when Batty puts the nail through his hand in order to stay alive. More graphic scenes like this are explored as age restrictions were put on films meaning more sex and violence could be shown. In the sequence, the nail was used to create meaning to represent Batty as a god-like character reminiscent of the stigmata in the bible. Another New Hollywood trait shown in Blade runner, specifically in the middle sequence, is a flashback. Deckard’s flashback is unclear whether he’s looking back in the past or whether it’s a memory that has been implanted into his brain, also relating to how New Hollywood has less emphasis on narrative logic unlike classic Hollywood. The use of the flashback sequence is used to show a unicorn, suggesting an enigma in the narrative and the difference between fantasy and reality of Deckard’s mind. Also in term of new Hollywood, Deckard is shown as a problematic protagonist as he is seen to limit his emotional responses through alcohol and instead internalises his experience into the fantasy world, explored in the flashback sequence. As well as this in the ending sequence there is a shift in protagonist and blurred lines between whether Batty or Deckard is the true hero at the end. This links into another feature of Blade Runner as there is less emphasise on eh narrative, resulting in an open ending. This suggest how it is unclear what happened to Deckard and Racheal, thus leaving it open to audience interpretation rather than a solid ending with a clear set of character morals and motivations. Similarly, in terms of performance in New Hollywood, in the ending sequence Deckard is portrayed to hold a gun to Rachel but soon after uses it to reveal her sleeping under the sheet. This is an example of how the unresolved narrative perpetuates until the ending. Next, in terms of political context, during the 1980s when America was in a state of post war Vietnam the US saw a high amount of immigration form the south-east Asia. This is represented in the openings sequence as we see mostly Hispanic and Asian people live on the crowded streets of the city while the ruling class, like Tyrell, live in penthouses high above the city. As well as this, New Hollywood implies underlying social commentary on the state of LA in the future as having environmentalist concerns, for example climate change, by the use of smoke and rain to suggest the continuation of fossil fuels and an environmental disaster. Similarly, LA is shown to be dominated by technology, reflecting the concerns of the cold war in the race for technology. Lastly a feature of New Hollywood is the more experimental use of film. An example of this, in terms of editing, is in the use of voiceover and director’s cuts which was added in to make it more apparent to audience what was going on, as a consequence of the unclear narrative. 

2. Ridley Scott’s visual style can be seen throughout ‘Blade Runner’- does this make him an auteur? Explore aspects of auteur theory with close analysis of at least one scene from the film. (20 marks)

 In the film Blade Runner, we might recognise the visual style of Ridley Scott as the work of an auteur. An auteur consists of a director with a recognisable camera style, reoccurring themes, ongoing collaborations and technical codes, and I believe Scott specifically demonstrates this through his visual aesthetics to create meaning in this film. Firstly, Scott uses smoke as a reoccurring aspect of mise-en-scene to create a sinister, eerie atmosphere as well as in the opening sequence reflecting the ongoing use of fossil fuels leading to an environmental disaster. The use of smoke was also used as a production context to enhance depth and hide the Hollywood hills at night and the setting of the Burbank studios. Next, in terms of lighting motifs, Scott commonly uses blinds as a way of creating shafts of light, specifically in the opening and end sequence, for example when Holden is interviewing Holden, the shafts of light are used to act as a warning to the audience about the hidden motivations of Leon as well as casting ominous shadows on the walls. Also in terms of cinematography to show Scott’s auteur visual style, gory close-ups of blood are seen. For example, when Batty murders Tyrell or more specifically in the ending sequence as Batty puts the nail through his hand. Scott’s intention for this was to demonstrate the shift in protagonist and how Batty could represent a God-like and holy character to look up to. As well as this a reoccurring theme, typical of the auteur theory, identity is explored in most of Scott’s work. In Blade Runner identity can be suggested in the flashback sequence as Deckard appear to be looking at photos from the 19^th century which also draws significance to his piano which is used as a symbol piece of mise-en-scene to demonstrate the significance in his humanity. Another theme Scott uses is the theme of colonisation. This is explored in his other work such as ‘The Martian’ and is used in the opening sequence on the blimp to advertise an ‘off world colonies.’ This emphasises the desire to escape to a new idealised world and the desperation of the people in the film to travel and ‘start over.’ Another feature of Scott’s use of aesthetics is the use of low-key direction functional lighting, seen as Deckard sits in front of his TV which lights up his fade creating a shadow. Also in term of lighting a blue/grey colour pallet can be seen throughout the film, suggesting that colour and light does not exist in the dreary and dull wold that they live in. Both these aspects of cinematography could be used to highlight that there is little hope for Deckard and that his humanity is slowly fading into a fantasy world and he realises he’s a replicant. Another Scott motif used in the ending sequence is the use of searchlights. This creates a sense of surveillance and that fact that they are being spied upon means no privacy. In the ending sequence, they are used to suggest that even when Batty isn’t in the room he is still watching and stalking Deckard. Lastly, Scott uses meticulously built sets, for example the Tyrell building of the city of LA as a model in the opening sequence. This extremely close attention, as well as the long lenses, enhances the sense of depth and demonstrates the purpose and importance of the significance into the development of technology in the film as well as cinematic space.