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 20th 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.
