Why is ‘Blade Runner’ a postmodern text?

Why is ‘Blade Runner’ a postmodern text?

Ridley Scott’s 1982 science fiction movie ‘Blade Runner’ can be described as a postmodern text for many reasons. The film follows the ‘blade runner’ Rick Deckard (played by Harrison Ford), who is charged to ‘retire’ four ‘Replicants’ – manufactured human androids, made by the Victor Frankenstein-like Tyrell, in the year 2019. In this futuristic dystopia earth has expanded onto other worlds and megacorps promise a better life on ‘off world’ colonies. Its focus, mise en scene and plot can all be said to have postmodern motifs which strengthen this argument.

One of the most notable ‘postmodern’ motifs of the film is its general concept. The film essentially focuses on the plight of the Replicants – manufactured beings for corporate means. Not only are human Replicants featured, the dystopian world in which the film is set, depicts many life forms such as snakes and owls – which are fakes. It is even implied the main character Deckard is a Replicant himself, what with the cryptic origami unicorn at the end of the movie – which serves as a hint that Deckard’s earlier dream of a galloping unicorn had indeed been the handiwork of Tyrell, the creator. The concept of non-existence and fraudulent life is part of Jean Baudrillard’s theory of simulacra and simulation. Baudrillard argues that nothing is original and that we are borne to a world, filled with images which have lost meaning due to the fact they are representing images themselves. In Scott’s movie, the Replicants can be seen as an allegory to Baudrillard’s views.

The replicants are arguably an allegory to the postmodern belief that we exist in an age controlled and swamped with telecommunications and technology – as stated by Lyotard. Lyotard believed that cybernetics – the branch of technology associated with computers – was dominating society and the economy. This is proven in ‘Blade Runner’, with the Tyrell Corporation being a mighty business empire and responsible for much of humanity’s technology (including replicants), of which they have become dependent on.

Another postmodern element of the film is the use of Pastiche in its genre and mise en scene. Critics have acknowledged the strong blending of 1950s ‘film noir’ into the science fiction piece. This is reflected through much of the characters costumes – Deckard is dressed in a long brown overcoat and suit which is reminiscent of the detective characters of film noir. Other elements of film noir include the mid section of the film in which Deckard hunts down and stalks the remaining Replicants. The ‘chase’ sequence and his firearms is a clear throwback to the 50s.

Another example of pastiche in ‘Blade Runner’ is the use of architecture, particularly in the panoramic long shots of Los Angeles. The audience are shown Aztec-like pyramids and huge buildings crafted in an ancient sky amidst a futuristic, metropolis backdrop. The blending of ancient cultures with the future is unexplained and serves little purpose to the film, it is very much present for stylistic reasons – adhering to Jameson’s theory that postmodern texts are devoid of depth in meaning.

‘Blade Runner’ can also be argued to portray postmodernism at its worst. The dystopian setting of the film is very much linked with the despairing quality held by postmodernists – who are entirely cynical and negative about modern society – yet are fully accepting of it, likewise, humanity in ‘Blade Runner’ seem entirely engrossed in their faux/pollution-ridden world, that there is no hope of salvation. Other motifs seen in Postmodern texts is the use of sexism and racism and ‘Blade Runner’ very much adheres to both. The setting of the film portrays a world overcome with Asian influences – the downtown gritty under-city looks like a futuristic china town – with a blend of Asian cultures coexisting with LA. This can be associated with the late 20^th century western fears towards the rise of Asian economic superpowers such as Japan and Taiwan. The film, therefore, implies the victory of a cultural revolution – with the Asian cultures invading the current hegemonic whites. The film also depicts sexism through the excessive use of female nudity. Pris – a female replicant is a simple’ pleasure drone’ – manufactured for the sexual fulfilment of men, whilst Zora hides from the establishment by working in the grotty and avant-garde brothels in the under-city. The romantic interest of Deckard’s ‘Rachel’ is also revealed to be a Replicant. The level of unanimity of their ‘romance’ can be disputed – with Deckard forcing himself onto her sexually and commanding her response when asking if she loves him. This portrays the subjugation of women under a patriarchal society. Though the film displays these gender racial inequalities – it lacks much, if any comment on them. Rachel’s subjugation is merely an element of the film and holds little significance in the plot and storyline. Thus, the film acknowledges the existence of power struggles but in a nonchalant, quiet way.

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Monday, 11 July 2011

Lady Gaga - Post-Modern Article

After watching the now-infamous video twice, I’m convinced that it is indicative of postmodernism in every sense of the term.
Pastiche. The video has it in spades. It references other forms of media (Tarantino, exploitation films, Thelma & Louise) left and right, while parodying none of them. This is because parody relies on an underlying normative standard, which postmodernism categorically rejects. Instead it merely shows the audience a barrage of media, almost a celebration of how clever the director is for cramming so many references into a single video.
Consumerism. The product placement is obvious, but it is not portrayed as humorous. The camera lingers too long on each product, and the video knows it, but it still manages to avoid parody. Rather, the video uses these consumer images as an integral part of its aesthetic without any comment on their social context.
Self-reference. The blatant product placement shows a self-awareness in the video, but this particular brand of ironic detachment harms the video’s ability to make any sort of overall message on its own. Instead it implies that celebrating consumer culture is fine as long as we’re appropriately ironic about it, but this is a largely unintended consequence of the video’s aesthetic.
Appropriation of identity-based struggle. Lady Gaga is interesting for turning the male gaze back on men, and for portraying women as subjects rather than objects in her videos (albeit still scantily-clad subjects). However, the resistance to power on Lady Gaga and Beyonce’s part is purely individual and brief (it’s very telling that Lady Gaga is bailed out of prison rather than escaping) Behind this initial layer of feminism there is still an individuated desire to become rich, given that Lady Gaga was saved from prison by money. She maintains her glamorous image inside and outside the prison’s walls, an implicit message that “excessive materialism is empowering to women, somehow,” as Alyx Vesey observed. Therefore her kind of feminism is integrated neatly into the agenda of neoliberals, who love to talk about glass ceilings being shattered while heaping disdain on poor women.
Incredulity towards metanarratives. Lyotard’s famous description of the postmodern condition applies even here, as it’s difficult to find an overall message or narrative in the video. There is a sequence of events interspersed with pop culture references and product placement, but little else.

Most works of postmodern culture incorporate the ethic of postmodern philosophy with even less critical engagement than postmodern philosophers themselves, and in so doing implicitly endorse the status quo. This video is no exception.

Genre - The Naked and Famous 'Young Blood'

'Young Blood' is a powerful story, told not through a direct narrative of events, but through a series of non-related shots of energy, violence and power. Each shot portrays a different action taken by a different youth, for example, the destruction of abandoned vehicles, or running through vast, open landscapes or leaping, frolicking in the sea.
It portrays youth as strong, energetic, full of zest and slightly destructive. It embodies youth's need to revitalise and live life rebelliously, without the caution of adults. The video is very pro-libertarian. The youth are shown enjoying a wild, care-free existence, running and tumbling through the rugged countryside and swimming naked in lakes - acts which are deemed inappropriate in a conservative society. Little hindrance is given to materialism and wealth, quite the contrary, with the video displaying shots of mountain ranges, forests, rivers, junkyards - places of adventure rather than Western skyscrapers and commerce. It actually takes the image of an image-caring, consumer-heavy teenage population and literally smashes it to pieces.
Rather than Marxist, the video is more anti-Capitalist and is very much targeted toward a young, teenage audience who experience these rebellious, frenzied spells. Certain images are repeated, such as the imagery of blood to portray this free, fearless nature of youth - unafraid of harm. As well as this, there are repeated shots of fireworks and sparklers. These portray how dynamic and bright youth can be, in balance with their untamed and uncontrolled image (as seen with shots of teenagers crashing down on the bonnets of cars). They also fizz and whir about along with the impassioned drumbeats and chords of the song.
The band can be seen in the video, but are not particularly glorified, they are shot individually and in the same manner as any other actor in the video - though the female and male leads hold their gaze longer with the camera.
With no real power struggle except the struggle of power between youth and authority, there are still however, some inequalities in gender. From a feminist perspective it must be noted most of the more violent acts, such as throwing and smashing with blunt objects seem to be done by men. Females are given the activities of kite-flying and tree-climbing, though are also seen bounding and running. Perhaps even for teenagers, an image of a girl, tearing up her environment is ugly and a removal of her appealing femininity.
Overall, the video is one of energy and zest and empowering to a teenage audience. Sympathetically, it taps into their teenage angst and hormonal fury and provides them with an idyllic world, lit in such high key, that it is almost over-exposed (so as to create a dream-like effect) - a world without rules or boundaries.

Blur 'The Universal'

Blur front-man Damon Albarn takes on the role of the anti-hero Alex DeLarge in the ‘A Clockwork Orange’ reference-ridden music video of ‘The Universal’. The narrative is ambiguous; we are subjected to a series of separate characters that are actually satirical representations of what a dystopian future might look like (whilst throwing the nod to Kubrick at almost every shot). Te video reaches a climax as each character’s situation becomes more and more obscene and controversial. The theme of voyeurism and the female body is thick, with shots of women submitting themselves as sexual imagery and playthings to hungry men. These storylines follows an interweaving narrative. They are intercut with live performance of the band in the setting of the white-washed, padded-cell-like bar, surreal images in the style of Warhol and shots of emotionless looking people on a council estate looking reverently up at a giant golf-ball like object which has speakers and a camera lens.  The enigma code of the video is what this object’s purpose is. All conversations are seen but not heard, some are subtitled but the audience is left to wonder what mysterious and horrific truth the priest character left with his drinking companion. The video is more or less real-time, the audience being somewhat omniscient, provided a soundless view of each of the bar’s customers.

Reorganisation

The blog has been reorganised into different pages. The media key concepts have been placed in pairs for each page. I have also created a YouTube account for specific purposes of G325 and a video has been made available for Genre theory.