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common culture there is some humanity to be found. Love. Choice. Memories. Whatever we define as human is eventually found in Deckard. Perhaps Gaff was playing with a ‘Grow Your Own Human’ set? He wanted to show us that robots can feel like us, that the definition of human might need changing a little bit. In this sense, then, he is a god. A creator, definer, of life. He defies Tyrell, the ‘God’ of this world, and creates humanity. He defies Bryant, his boss, and allows Deckard to be cut off from red tape. The job is still waiting to be completed. Ridley is Gaff. The auteur. He is Mexican-American, the surveyor and the man trapped on the edge peering down into Deckard and into the line itself. We are the line, trapped in the liminality between fiction and reality. Blade Runner’s storytelling blends speak of a reflection of the both the future and the now, trespassing ‘science-fiction’ altogether. We are on the edge, just as Deckard skirts it too, and Ridley plays us to a tee. What the tour de force of his create world is, however, is how he transforms his world to display his politics to us all. NOTES 1. The Blade Runner Experience - page 9
SECTION IV: POLITICS Politics nowadays isn’t regarded so rightly. As I type this, the US congress holds (barely) a 5% approval rating and, all across the globe, there are ‘Occupy’ movements. Revolts against old-age systems, traditionalists and (in general) disgusting new age capitalism. The period of change we’re going through is more pivotal than ever before. While the old folks had to deal with the social change following World War II, now following the Cold War we now have to deal with substantial change. The Information Age is radicalizing the youth, transforming intellects and finally blowing wide-open all the dirty dealings of the political system. A trip back to the nineteen eighties is needed then. For Blade Runner is more relevant today than it was back then... or was it? It was weaved out of those times, not ours, so perhaps we need to truly see just what fabrics and materials its politics were made out of. (4.1) EAST AND WEST: Blade Runner’s America is a fallen angel. Now overtaken by Asian expansionism, the American dream is now in tatters. How does it handle eighties fears and still manage to hold relevance today? (4.2) THE CAPITALIST MACHINE: I am confident in saying Blade Runner is a left-wing film made by a left-wing director and left-wing writers. How, then, is capitalism both vindicated and victimized? How does the world of Blade Runner deal with the idea of ‘money’? (4.3) THATCHER AND REAGAN: A Cowboy in the White House and a Conservative in 10 Downing Street. Throughout the 21st Century, this would repeat itself almost identically. But, back then, there was this little thing called ‘Reaganomics’ too... (4.4) TODAY: Why does it truly hold political relevance today? Is it the issues raised or the execution in presenting the issues? I evaluate the section and come to a conclusion to just how universally powerful the politics of Blade Runner are.
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Written and Edited By: Nathan Hardi
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INTRODUCTION Blade Runner is consid
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SECTION I: IDEAS I don’t think it
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(1.1) DECKARD Any film, video-game
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some of his wit. Yet, Blade Runner
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Perhaps he’s on the edge of his h
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about immigration, but he is also t
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he’s using it to go in and kill Z
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dependent he is upon her love now.
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Deckard is not a powerful character
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Roy Batty kills the last remaining
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What about his humanity? Well, as c
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Deckard appear so inhuman at the st
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system in any way. Roy, as evil and
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Whereas Sheep is definitely centred
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SECTION II: BEYOND 1980s. This was
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for Star Wars and Blade Runner. The
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cityscape scene from Episode Two. A
Page 38 and 39: Superhero movies aren’t exactly s
Page 40 and 41: eal first ‘ideas’ film that led
Page 42 and 43: notes. There was a great rusty feel
Page 44 and 45: with ideas and philosophies and not
Page 46 and 47: I mentioned the Hamlet comparison e
Page 48 and 49: The biggest grossing film of 1982 h
Page 50 and 51: opposite to what E.T said, but the
Page 52 and 53: games that was an inevitability I c
Page 54 and 55: (2.5) AFTERMATH Blade Runner was a
Page 56 and 57: elieves if you go in disappointed a
Page 58 and 59: those events. Blade Runner is undou
Page 60 and 61: SECTION III: SYMBOLS Memories. Is t
Page 62 and 63: Batty takes this upon himself to ri
Page 64 and 65: Coming away from the more abstract,
Page 66 and 67: give more evidence and integrity to
Page 68 and 69: Tyrell is then rewarded by having h
Page 70 and 71: a family, now he is only Roy Batty.
Page 72 and 73: through the ceiling, hangs off stee
Page 74 and 75: Blade Runner does not argue with re
Page 76 and 77: (3.3) TRAGEDY "When one man dies it
Page 78 and 79: thought I had won Ridley's agreemen
Page 80 and 81: Except the original Star Wars trilo
Page 82 and 83: the extreme of sympathy. Reduced, e
Page 84 and 85: to the Replicants. He knows what he
Page 86 and 87: (3.5) GAFF Who or what is Gaff? As
Page 90 and 91: (4.1) EAST AND WEST I write this at
Page 92 and 93: acist or other discriminatory attit
Page 94 and 95: physically into Deckard, to carry o
Page 96 and 97: (4.2) THE CAPITALIST MACHINE Blade
Page 98 and 99: parties but that he can watch them.
Page 100 and 101: Deckard recognizes this, eventually
Page 102 and 103: glory days of almost 1920s ‘rugge
Page 104 and 105: they fundamentally destroy it and l
Page 106 and 107: (4.4) TODAY Today. As I type this,
Page 108 and 109: capitalism. The docile populace see
Page 110 and 111: SECTION V: EVOLUTION Blade Runner e
Page 112 and 113: females who use their pure sexualit
Page 114 and 115: I respect Barr’s interpretation,
Page 116 and 117: and indeed the placement of women a
Page 118 and 119: (5.2) THE NEXT STEP “THE NEXUS 6
Page 120 and 121: Deckard spits in his face there’s
Page 122 and 123: Final Cut whether Blade Runner was
Page 124 and 125: trace of sarcasm from Holden. He’
Page 126 and 127: CONCLUSION When I took on this proj
Page 128 and 129: BIBLIOGRAPHY Kerman, J.B (1997 edit
Page 130: ABOUT THE AUTHOR Nathan Hardisty is
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