Blade Runner & Representation:
Why is Blade Runner (1982) Postmodern? (Essay)
There is frequent evidence to signify a strong relationship
between the film and the theory of postmodernism. Postmodernism itself is a
late 20th Century idea of the arts that suggests a decrease in
modernist culture and highlights that today’s ‘modern’ ideas are actually just
reinventions of previous ones.
In my
opinion, the major aspects of postmodernism that are evident in the film are
present in the 2019 city setting of the film. The city is a central device for
representing the social division and power relationships between society, as
well as having a postmodern design. One architectural example is the building
which houses the Tyrell Corporation; its gold, pyramid style form reflects
architecture that’s common to other countries including Egypt. Moreover, the
building results in a architectural pastiche of those we have previously seen
in ‘Metropolis’ (1927, Fritz Lang), leading to its design to be viewed as
extremely postmodern. Additionally, although the film is supposed to be set in
Los Angeles, there are cultural features of other cities including New York and
Tokyo that are fluidly present. These include the large ‘skyscraper’ style buildings
that appear to dwarf the rest of the city as well as the neon billboards and
signs that, overall, label the Los Angeles of Blade Runner as a vision of the
postmodern city with the idea that everyone who can has fled the ‘real world’
for a more attractive virtual and ‘hyperreal’ equivalent.
Secondly,
the film is said to have a postmodern aesthetic, as visualised with evidence of
the film noir genre due to the manipulation of these 1950’s conventions in a
displaced futuristic, 2019 setting. Consequently, the films visual style ad
thematic range is labelled as ‘neo noir’. The images that we see of the city
give a sense of decay and decline and the story of the replicants, who appear
human although are actually synthetic are essentially illustrating the theory
of postmodernism.
The
city, although not appearing ultramodern and rather exposing the conquest of
technology, is nonetheless mediated in a postmodern manner. The ‘higher levels’
of the city are flooded with neon-lit signs and billboards where other, ‘lower’
parts are more dimly lit and neglected. For example J.F Sebastian’s run-down
warehouse conflicts with the police cars that dominate the sky above it.
Additionally, Harrison Ford’s character, Deckard is pictured using a machine
that is capable of capturing images in a futuristic way although its appearing
is significantly stuck in the past. This could be relatable to the whole city
as while it appears to be futuristic and technology forward, one only has to
delve in the ‘lower levels’ of the city where people are less economically
stable and appear like rats as they scurry through the rain to see that
technology has infected it and made it a place where no one feels at home, but
vulnerable and preyed on.
There
are also significant scenes in the film that display the theme of
postmodernism, one of these being Batty’s death. Deserved, yet sympathised,
Batty dies religious death, representing a figure of hope. Batty is dressed in
just cloth with a blood drenched hand whilst being soaked in the rain and
upholds a redeeming personality as he lets Deckard live only to die himself.
Just prior to his death, he releases a white dove which holds obvious religious
connotations of sacrifice, hope and rebirth. Batty’s death can thus be seen as
postmodern as it is a metaphor for the death of Christ.
Finally,
the film’s postmodern style is proven through its idea of a disconnected time
and space along with the idea of a disconnected temporality, as explored with
the replicants. The post-industrial condition of the city, due to the wearing
out from technology and the theme of waste, aids this postmodern
interpretation. In the lower levels, as well as there being a sign of
depression and decay, the people living there reinforce that by the way they
move and weave in and out of the cluttered streets.
Thus, I
conclude that Blade Runner adopts many features that develop its postmodern
theme. This is mainly down to the setting as it appears modern although it
highlights the power of technology in the weakening of society and it is
supposed to be set in Los Angeles although is borrows aspects of eastern
American city cultures as well as Egyptian and Japanese. The setting of Blade
Runner appears technologically advanced but this reflects negatively on the
city and the people living there as themes of depression are reinstated with
the ongoing rain and overcast weather. Lastly, the film’s adoption of the film
noir style makes it especially postmodern as the notion of time is once again disjointed
with the mix of 1950’s noir and 2019 Los Angeles.
Why is Blade Runner (1982) Postmodern? (Wordle)
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