What comes to mind when you read the word sci-fi? UFO’s? Aliens? A certain extinction for the human race? Or maybe just an extra-terrestrial lifeform trying to phone home. There is no denying that sci-fi films have embodied a cultish following. Arguably, the advent of this growth is due to a fantasy world which viewers can escape to. Moreover, the flexibility associated with science fiction plots, characters and settings allows directors to have substantial freedom.
Apart from predicting the future, science fiction goes beyond a pseudo-science novelty. The genre is merely a translation of the fears, anxieties and issues of the present day.
Classic science fiction thriller, Blade Runner, is an example of this notion. In the 1980s, there was
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Dystopia, a relevant issue at the release of the film, is also explored.
Blade runner’s bleakness is no mistake. The film noir undertones are used by Scott to show the audience a society ruined by rapacious capitalism.
Film noir is evident in the dark mis-en-scene. This comes in the form of low key lighting, the use of smoke, fans, and slow jazz music. The nature of these scenes creates a sense within the audience of a desolate future which is ruined by capitalism.
Another perfect example is the opening scene. A wide angle shot is used illustrating a post industrial age in the form of loud explosions and gas clouds. The only thing visible is a vast cobweb of urban structures, suffocated by pollution. Simultaneously, the shot is cut to a large pyramid structure spelling “Tyrell” in large letters.
Ridley Scott specifically contrasts chaos with order to highlight the dystopia created by the Tyrell Corporation. Earth has become an inhabitable wasteland for people who don’t have the economical or positional status to go to other planets. This precise selection of techniques which depict earth as uninhabitable causes the audience to question modern
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This is evident when Sonny displays human qualities in a close up shot of his face, as he says, “What am I?” Sonny questioning his identity exemplifies that robotic consciousness might be an emotional response. In this moment, the audience emphasizes with Sonny, consequently believing that he might be human. Through the use of camera techniques and character development, director, Alex Proyas, effectively challenges robot stereotypes. These film techniques used in iRobot are directly reflected within Blade Runner’s ending scene. In this scene Roy comes to the realisation of his identity, further instilling the theme of robotic consciousness to the