Note on this edition: this is an electronic version of the 1999 book ...

232Demonic Texts and Textual Demonskilled Tyrell, he descends in an elevator into darkness, and this, in turn, isthe only scene where we can see stars, the heaven drawing away from Roy’s(now Luciferian) figure. 131 Scott Bukatman summarises the ambiguous effectof Blade Runner succinctly: “This science fiction adventure of urbanperception produces an enhanced self-mastery, but also, at the same time, adispossession, almost an erasure, of self.” 132The first working title for Blade Runner was “The Android,” and thisaccurately captures the altered position of man-machine: instead of posingas an image of the “unfeeling” or mechanical qualities in the modern self,replicants figure in Blade Runner to invoke our empathy in all of their fragileartificiality and lack of solid “human nature.” 133 The “demoniacal corpse”of 1818 had become the metal-faced devil of 1968, only to be reborn againas the troublesomely angelic-devilish replicants of 1982. The replicantscarry subtle signs of their demonic ancestry (their eyes, for example, have afaint glow in many shots); more important it is, however, that the audiencecannot identify with them directly, nor are they able to do so with Deckard.134 The hysterical fear that Victor displayed towards his creation hassubsided – or, for that matter, so has the blind infatuation Nathaniel expressestowards the Olympia, the female automaton in E.T.A. Hoffmann’s“Sandman.” Dr. Tyrell does not have the demonic powers of Coppelius/Coppola(in Hoffmann’s tale), but the demonic has its uses even in thefantasies of the twenty-first century. “Artificiality” is still a sign of otherness,but it has come closer to the sympathetic, conscious dimensions ofthe self. In Clive Barker’s play the mechanical man Easter, manufactured bythe devil, voluntarily sacrificed himself for “real” humans; the replicantsfind themselves as cast into the role of the “demonic other,” and they explorewhatever potentials such a situation might offer. 135Kolb remarks in his notes on the ecclesiastical trappings that surround Tyrell: he wearsthe papal gown, his bed is designed after that of Pope John Paul II – a ring on the littlefinger of his right hand and the “devotional candles” illuminating his chambers shouldalso be noted (Kerman 1991, 166).131 Blade Runner 1:26.132 Bukatman 1997, 8.133 See Kolb, “Script to Screen: Blade Runner in Perspective” (Kerman 1991, 133).134 Deckard is shown as shooting an escaping female replicant, Zhora, in the back; thekilling of Pris is also shown as a painfully cruel and undignified act. His “love scene” withthe beautiful young replicant, Rachael, is actually sort of “reprogramming” this womanthing– Deckard pushes Rachael around, and demands that she repeats after him: “Kissme… I want you.” (1:10.) The Blade Runner crew called it, actually, “The Hate Scene.” –“Instead of a relationship, that scene became this sort of sadomasochistic encounter betweenthe two of them. But that might have had something to do with eighties sensibilitiesas opposed to nineties sensibilities, too. The sexual and political environment todayis much different than it was then.” (Model Supervisor Mark Stetson; Sammon 1996,165.)135This principle of appropriating the demonic figure and tradition into identity constructionis discussed in the next chapter, in the context of Salman Rushdie’s The SatanicVerses.