Directed by Ridley Scott, Blade Runner is an iconic film that premiered in July of 1982. Known for its representation of a high tech yet decaying future of earth. Is a science fiction and noir piece adapted from the novel ‘Do androids dream of electric sheep’ by Phillip. K, Dick. A. The film follows Deckard, a previous special agent, summoned out of retirement after six rogue Nexus 6 replicants attempt to break into the Tyrell Corporation. Blade Runner presents the viewer with characters depicted in basic gendered roles. Women are forced out of their complex roles to be presented as sexual objects for the male gaze. Defining their feminity to that of their sexuality. Rachael as Deckard's love interest embodies a mix of allure and innocence. …show more content…
Zhora, although designed as an assassin, finds herself working in a provocative role in a nightclub to make money.. The reduction of her complex character to that of her desirability symbolises the women forced into sex work for ends meat. Her outfits in the nightclub are extremely revealing, and when running from Deckard to save herself. Her coat is clear, keeping her ‘sexy’ outfit on full display to show off her figure. Making Zhora a perfect depiction of a ‘feminine standard’ in the male gaze. Paris on the other hand was a replicant created for companionship. She is presented in a way that leans into her femininity, accentuating her sexuality and vulnerability. Her character is a reminder of how female gendered roles are generally regulated to that of male fantasies. The scenes in which she interacts with J.F. Sebastian, acting almost childlike and presenting herself as if she's a ‘doll’ to play with, highlights this allure. All three women are forced out of their complex roles to appease masculinity, therefore reinforcing gendered feminine …show more content…
Deckard embodies this complex masculinity. His role as a Blade runner to retire replicant requires a cold and merciless approach, referencing the notion that strength and decisiveness are of utmost importance in masculine identity. The interactions he has with women are often marked with dominance. This can be observed in his interactions with Rachael where any tenderness is overshadowed by means of coercion. In another sense, Tyrell, the CEO of the Tyrell corporation, is used to represent corporate masculinity. His characterisation is cold, calculated and he’s driven by his ambitions. He treats the replicants, his own creation, as if they are disposable products. Diminishing the beings he referred to as ‘more human than human’ to mere objects. However, there is one character that breaks away from his gendered role. Roy Batty, the leader of the Rogue Nexus 6 group. During the ending sequence, Deckard and Roy fight in an abandoned building and eventually find themselves outside. After jumping across a building, Deckard is stuck and is set to fall to his death. Roy stops this, saving Deckard's life, shifting his actions from anger to compassion transcending the stereotypical male role as the aggressor. This ending moment redefines Roy’s character, suggesting that one's true strength lies in empathy instead