Blade Runner: A Method for the Generic Masses
This paper will look at Ridley Scott’s use of distinctive characteristics from both science fiction and film noir, in the multi-generic film Blade Runner.
In order to do this, we must first establish what the main characteristics are for film noir and science fiction respectively. These can be divided into visual style, structure and narrational devices, plots, characters and settings and finally worldview, morality and tone. The reason why it is important to know these genres, is because genre consists of a set of codes, that are recognized and in turn understood by both filmmaker and audience. This set of codes, once recognized, leads to expectations of a certain style of mis-en-scene, narrative, type of characters etc. that ultimately affects the meanings found in the film (Doll, 1986, 89).
Most films have the potential to utilize sets of code from more than one genre, but only some can be considered multi-generic. This depends on the level of homogenization. If we use Ridley Scott’s film Alien as an example, it would not be multi-generic, even though it contains elements of both film noir and horror, because it is still science fiction that dominates as a genre. In opposition to this, Ridley Scott’s Blade Runner uses both the codes, from film noir and science fiction equally. Because there is no dominating genre, this can cause problems for the viewer, since the two sets of codes leads to two different expectations (Doll, 1986, 89).
The Oxford Advanced Learners Dictionary defines film noir as “a style of making films/movies in which there are strong feelings of fear or evil.” And while that is no doubt true, it has many other defining characteristics. (2005, 573)
The visual style is for many the first thing that comes to mind when film noir is mentioned.
The low-key lighting, harsh contrast between dark and light, and dramatic shadows, called chiaroscuro, are key characteristics in film noirs mis-en-scene. Shadows especially, like shadows from
In order to do this, we must first establish what the main characteristics are for film noir and science fiction respectively. These can be divided into visual style, structure and narrational devices, plots, characters and settings and finally worldview, morality and tone. The reason why it is important to know these genres, is because genre consists of a set of codes, that are recognized and in turn understood by both filmmaker and audience. This set of codes, once recognized, leads to expectations of a certain style of mis-en-scene, narrative, type of characters etc. that ultimately affects the meanings found in the film (Doll, 1986, 89).
Most films have the potential to utilize sets of code from more than one genre, but only some can be considered multi-generic. This depends on the level of homogenization. If we use Ridley Scott’s film Alien as an example, it would not be multi-generic, even though it contains elements of both film noir and horror, because it is still science fiction that dominates as a genre. In opposition to this, Ridley Scott’s Blade Runner uses both the codes, from film noir and science fiction equally. Because there is no dominating genre, this can cause problems for the viewer, since the two sets of codes leads to two different expectations (Doll, 1986, 89).
The Oxford Advanced Learners Dictionary defines film noir as “a style of making films/movies in which there are strong feelings of fear or evil.” And while that is no doubt true, it has many other defining characteristics. (2005, 573)
The visual style is for many the first thing that comes to mind when film noir is mentioned.
The low-key lighting, harsh contrast between dark and light, and dramatic shadows, called chiaroscuro, are key characteristics in film noirs mis-en-scene. Shadows especially, like shadows from