| Papers [1-15] of 71 :: [Page 1 of 5] | | Go to page : 1 2 3 4 5 —> | Search results on "BLADE RUNNER": |
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"Blade Runner", 2004.
The use of the notion of genre to analyze the film, "Blade Runner", in terms of science fiction.
1,920 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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Abstract
This paper examines Ridley Scott's film, "Blade Runner," and looks at how the film utilizes the main proponent of science fiction film, the development and utilization of technology and the implications that it may have upon the human race and society. It attempts to argue that, while "Blade Runner" can be perceived as a science fiction film, there are also integral elements of film noir and postmodernism that influence the film. It shows how the limitations of definition by genre means that "Blade Runner" is a film that is overlaps other areas of genre than science fiction, and it has different levels of interpretation regarding style, content, and the underlying story of the movie. To define "Blade Runner "as a science fiction film is not itself incorrect, but it is a somewhat inadequate summarising of the film's structure and style.
From the Paper
"However, whilst Blade Runner evokes the sentiment of a science fiction world, there is substantial evidence to suggest that the film was greatly influenced by other genres, especially Film Noir. Blade Runner?s sprawling metropolis, and dark, shadowy urban is so evocative of a dark film noir setting. The lighting is crucial in film noir as it is Blade Runner. Many Science Fiction films are shot in an unnaturally hard light yet In Blade Runner there is a vivid feeling of dark alleys and sinister rooms, of deindustrialisation and decay. The 1940s black cities of film noir are represented in the dystopian world of Los Angeles in 2019, drawing parallels between the black times suggesting the future could be as bleak as it was during World War Two in the 1940s. In Film Noir, society and the system is ruthless, the people are evil and remain corrupt, and the hero has both protagonist and antagonist values. Deckard is the typical cop hero with his trench coat, tie and a gun, Rachel is the femme fatale, and Roy Batty the main villain heading for a showdown."
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"Blade Runner", 2002.
A review of Ridley Scott's film "Blade Runner" through the postmodern lens of Umberto Eco.
1,900 words (approx. 7.6 pages), 7 sources, $ 71.95
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Abstract
This paper will explore elements of Ridley Scott's "Blade Runner' in light of Umberto Eco's theories of cinema's "common language" and the intertextuality of film. It will be argued that to fully understand 'Blade Runner' it is necessary to situate it in the context of the cinematic genre of film noir. Given the extent of the movie's "debt" to the "common language" of film noir, Blade Runner can be seen as a postmodern film noir; the product of a "metasemiotic culture" in which innovation is achieved only through re-visioning the past.
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The Final Scenes of "Blade Runner "and "Brave New World", 2002.
A comparison of the divergent interpretations of "Blade Runner"?s and "Brave New World"?s conclusions.
2,839 words (approx. 11.4 pages), 6 sources, MLA, $ 84.95
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Abstract
This paper explores and compares the multiferous interpretations of two movies "Blade Runner" (1982) and "Brave New World" (1994). The paper shows how the contexts of the two movies are markedly different -"Blade Runner" exists in a context in which there is a growing support for libertarianism, influencing the increase in environmentalism, both of which detect the intended environmental and anti? authoritarian didactic of the texts, while "Brave New World" creates an aberration of the original intent, complicated by the mutating religious values of society.
From the Paper
"The final scene of Brave New World disseminates Huxley?s opinion that the suppression of human nature will ultimately lead to one?s demise, a message which is especially prominent to the libertarians. Libertarian is a term to describe those who revile the concept of suppression and as such a message of freedom would be interpreted. The suppression of one?s human nature creates a spiral of depression which will result in the obliteration of oneself. The savage attempted to suppress his feelings for Lenina, yet ultimately failed in his attempt. The savage had been taught, conditioned by his society that lust as with ?every evil inclination has to place itself under such great restraint, don so many masks, lay itself so often on the procrustean bed of virtue? (Nietzsche), his feelings for Lenina were perceived to be evil, being contrary to the teachings of, in this case, the bible. The contradiction of his feelings and his teachings led to confusion as to the correct course of action, confusion which led to the complete suppression of emotions. The suppression of his emotions resulted in a decent into a self? destructive spiral, beginning with the use of self? punishment as a source of redemption, an act which brought him great pleasure, developing masochist instincts. The savage ultimately commits suicide, hanging himself in the tower, unable to repress his desires. The tower is a symbol of the self? destructive spiral, the concentric circles of the tower leading to the death of The savage. The suppression of human desires ultimately leads to one?s demise as one enters a self? destructive spiral, until one destructs. Within Blade Runner there is an overt condemnation of oppression and suppression within the conclusion."
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"Briar Rose" and "Blade Runner", 2002.
Examines the parent/child relationship in "Briar Rose"" and Blade Runner".
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
In both films, "Briar Rose" and "Blade Runner", the traditional parent/child relationship is altered. In "Briar Rose" the child must discover the secret of the grandparent and do so alone. In "Blade Runner", the children are artificial intelligences, programmed to live only four years and seeking vengeance on their creators.
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?Blade Runner?, 2005.
This paper explains that Warner Brothers sci-fi film "Blade Runner" (1991) was a box office bomb.
975 words (approx. 3.9 pages), 0 sources, $ 34.95
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Abstract
This paper explains that the entire film "Blade Runner" is nothing more than a depiction of violence, for violence's sake and fails terribly in presenting any redeeming social value despite the reputation of the cast and the novel upon which the screen-play is based and the obvious investment in the production. The author points out that Harrison Ford brings to this work his usual contrived intensity by way of camera placements that emphasize his so called expressive facial expressions and eyes, which are used to over-emphasize, even in the chase and the love scenes, the ridiculously super human characteristics supposedly possessed by Ford's character. The paper contends that the lighting is a nightmare, taking away from the players much of their artistic freedoms to enhance their scenes; however, the worst part of the lighting techniques employed were the constantly flashing white strobe lights penetrating every aspect of the film.
From the Paper
"The true give-away of the bomb like nature of this or any other film in the genre is the long and convoluted prologue preceding the beginning of the story. When one can see this, they should run, not walk back to the box office and demand an instant refund. If the story and the action in this genre cannot carry the production then no amount of explanation will help. The Blade Runner, an agent of some sorts, played by Harrison Ford, is licensed to kill these interlopers on sight. Rather than calling them murders for hire, the killings are labeled "Retirements" of the clones. Reluctant at first, to take on the chore for the local police, Ford's character becomes intrigued with trying to figure out if the female lead of the movie is actually human or just another clone."
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"Blade Runner", 2005.
This paper discusses the characters in the film "Blade Runner", directed by Ridley Scott.
1,300 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper explains that, in "Blade Runner", the audience realizes the fundamental moral problems of the film through the main character Rick Deckard's point of view: The definition of life and the moral and ethical codes governing that life. The author relates that key to the film are the replicants, which are androids with four-year life spans who look and act exactly like humans, replete with human memories, but lacking in empathy, a quality, which ostensibly belongs only to humans. The paper describes the characters of two replicants, Rachel Rosen and Roy Batty, whose ethical transformations are the core of the film.
From the Paper
"The ethical crisis that arises involves Deckard's ability to define himself - is he human or replicant? - and involves the justice of his task - is it right to kill a replicant when they are, in most ways, indistinguishable from humans? The first crisis develops subtly. When Rachel Rosen, a replicant, asks Deckard if he has ever taken the Voight-Kampff test, which would determine if he is a replicant or a human, he doesn't answer but grows uncomfortable. The Tyrell Corporation gives all replicants false memories and even pictures of their "childhoods" and "families." Deckard has a row of pictures atop his piano, and various shots in the film show him studying the pictures in earnest, almost as if he were trying to determine whether or not they are real. Ethically, if Deckard is a replicant, then the whole moral structure of his job is ersatz: he should be the victim, not the hunter."
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A Book Review of Philip Dick?s "Blade Runner", 2001.
This paper analyzes the novel "Blade Runner," through the author's intent and history.
1,095 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This paper examines the novel, "Blade Runner," through two important questions, what is the author's message and what is the historical importance of this novel? The paper gives a background to the science-fiction plot and the central theme of the book, human identity. It further focuses on the central character, Rick Deckard, and his role central to that theme.
From the paper:
"The work centers around the question of what it means to be human. San Francisco Police bounty hunter Rick Deckard tracks down renegade androids who have escaped from colony worlds and ?retires? them. The catch is that these androids are so human-like in appearance that no one can tell from looking at them whether they are ?real? (i.e. human) or not and so that Deckard has to determine what they are before he can know whether or not to kill them. He has, in other words, to be able to look into their souls, into their hearts."
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"Blade Runner", 2003.
An analysis of the themes and images of the film "Blade Runner".
2,760 words (approx. 11.0 pages), 8 sources, MLA, $ 95.95
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Abstract
This paper examines Ridley Scott's 1982 film "Blade Runner," focusing on images, vision, photographs and mirrors for what they signify. It also discusses the film's postmodern deconstruction of contemporary materialistic society.
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"Blade Runner", 2004.
An examination of the characters of Deckard and Batty in the movie, "Blade Runner."
4,215 words (approx. 16.9 pages), 13 sources, MLA, $ 112.95
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Abstract
This paper looks at the relevance of the movie to our everyday existence. It shows how, throughout the film, life and death are displayed in ways that illuminate their surreal quality, their strangeness in the context of such darkness and emptiness. It explains that life in the case of a radically imposing world is strange even to the hero, Deckard.
From the Paper
"The film is one big test of empathy, of how much we should be feeling, upon the audience. It is highly self-conscious in this way; we are made to feel that we are watching a film, and yet a film that throws doubts into all our expectations, especially that of the extent of our own emotional understanding. How much do we feel for the characters of Deckard or of Batty by the end and how is this relevant? Deckard at one point asks regarding a replicant, ?How can it not know what it is?? The Replicants are an essential premise, for once we begin to replace aspects of our humanity to such a degree, what is left of the human or at least the value of a human?s life? Where everything is thrown into doubt, one answer might simply be more delusion in a world of delusions and yet also of (pure unicorn) dreams."
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"Blade Runner", 2001.
Analysis of Ridley Scott's 1982 film in terms of spiritual & psychological journey taken by movie's hero, Deckhard. Relates journey to Jungian archetypes & Joseph Campbell's "The Hero With 1000 Faces.:"
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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From the Paper
"The concept of the hero's journey and how it reflects certain archetypal ideas derives from Jungian psychology and from sociological and cultural analysis by researchers like Joseph Campbell. Jung speaks of archetypes in terms of dreams, but drama is a way for the community to work out these archetypes in public ritual. For that matter, film in particular has much in common with dreaming, and the science fiction film Blade Runner (Ridley Scott, 1982) presents a hero in the form of Deckard who takes a spiritual and psychological journey and who changes in the course of that journey, thus living out the ritual for the audience.
Joseph Campbell sees the tales we tell as being shaped around certain central motifs, repeated patterns indicating deeper psychological needs and beliefs. He states that in our ..."
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"Blade Runner" ( Ridley Scott ) &" Double Indemnity", 1997.
Compares film noir style, characters, plot & setting of 1982 & 1944 works.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
"Blade Runner (1982) and Double Indemnity (1944) might at first glance seem to have little in common, the first being a science fiction film about a man who hunts down and kills androids and the other a film about an insurance investigator and a woman who team up to kill her husband for his insurance. Both films derive their power, their style, and their "look" from the same source, the film noir style of the 1940s that developed spontaneously in response to the paranoia and uncertainties of World War II. In the 1940s, the style was used primarily for urban crime dramas, and the style is marked by sharp angles in both the setting and the use of the camera, night scenes, darkness, wet city streets, and sudden violence. The plots center on moral dilemmas, a sense of paranoia that often proves to be justified, the woman as lure for the male, and the male as.."
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"Blade Runner", 2002.
Analysis of Ridley Scott's 1982 film.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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Abstract
Analysis of Ridley Scott's 1982 film. Ways in which the film explores how technology redefines what it means to be human. Film's message about the meaning and worth of human beings. Line between robots, replicants and human beings. Significance of Deckard's role. Conflict between Deckard and the replicants he hunts.
From the Paper
"The film Blade Runner, directed by Ridley Scott, explores the way technology redefines what it means to be human. The film, among other subjects, is about the struggle between humans and replicants, or machines which resemble humans so closely that humans cannot tell if they are human or machine. At a deeper level, the film examines what it means to be human, and, especially, what it means to be human in a world which advanced technology controls so much of human life. The argument here will be that, as pictured in the replicant/human puzzle in Blade Runner, technology can definitely affect the way human beings see themselves and one another. After all, if one cannot tell if another human being is really human or a chine, or cannot tell if he himself is really human or a machine, then technology has indeed completely redefined what it means to be human. At the ..."
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"I, Robot" ( Isaac Asimov ) & "Blade Runner" ( Ridley Scott ), 1999.
Compares robots in Asimov's novel & replicants in Scott's film.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Compares robots in Asimov's novel & replicants in Scott's film. Discusses the paradox that , even as human beings in the real world seek to develop machines that can think, it is also apparent that these same human beings fear such machines.
From the Paper
" Artificial intelligence is a dream of mankind, but it is also an elusive one. Science has created machines that can emulate certain human thought processes at high speed, but these machines cannot really be said to think. In fiction, however, the problems involved can be solved, and robots have been presented in fiction which are very human in the way they think. However, even as human beings in the real world seek to develop machines that can think, it is also apparent that these same human beings fear such machines. In fiction, this is often addressed by the development of rules for the conduct of robots and androids, and yet often these rules can be bent quite far by the intelligent machines at which the rules are directed. Isaac Asimov created perhaps the most famous set of such rules in his Three Laws of robotics, logical rules that the author uses to.."
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"In A Lonely Place" by Nicholas Ray and "Blade Runner" by Ridley Scott, 1994.
A comparison of the 1950 and 1982 films as examples of film noir genre. Includes sociohistorical contexts, direction, the psychology of characters and iconography.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"One of the most potent film genres in terms of subsequent influence was the so-called film noir, so-called because no one making a film noir at the time of its creation and ascendance ever used the term or even assumed that they were working in a genre or style that might deserve a name of its own. the term was applied long after by French critics who noticed a stylistic shift in American films in the 1940s, and as Thomas Schatz notes, this style dominated films in the late 1940s and early 1950s to such a degree that it came to identify both the narrative-cinematic style of those films and also the historical period during which they were produced (Schatz 112).
The style would have an influence long after that historical period ended. Indeed, it continues to have an influence today..."
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Blade Runner ( Ridley Scott ), 1997.
Analyzes 1982 film as an example of science fiction told in film noir style.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"The film Blade Runner (1982) makes deliberate use of the 1940s film style known as film noir, a name given to the approach by French film critics who saw in American movies an emerging social, psychological, and stylistic point of view after World War II. The use of the style in Blade Runner brings two different generic sensibilities into conflict: the science fiction film which looks to the future, and the film noir which finds meaning in the dark and decaying urban world of the 1940s. Director Ridley Scott deliberately plays the two styles against one another, with the high-tech world of the future shown not as a brave new world of progress and light but as an extension of the urban decay of today, a theme highlighted by the stylistic link to films of the past."
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