Frankenstien vs Bladerunner

Composers illustrate paradigms that correspond with their social, historical and economic contexts. The capacity of such ideals transcends with in time with Mary Shelly’s 19th century novel ‘Frankenstein’ and Ridley Scott’s sci-fi film ‘Bladerunner’ . Both texts pose similar disclosures regarding the existence and morals of humanity. As a romanticist Shelly condemns humanities intrusion with nature and attempts to override it. Similarly Scott replies with a critique of humanities ruthless ambitions. However the two texts are also in great contrasts as time shifts the criticism from rebellious un-godly behavior to greedy, capitalist, mass industrulisation in pursuit of ultimate commercial dominance. Both texts employ techniques such as allusion and charcterisation to depict similar dystopian scenarios as a result of humanities intervention with nature.
Composed during the industrial revolution a time of rapid economic and scientific development, Mary Shelly embraced romanticism as she scrutinised her surrounding society of traditional, loyal church goers. As a romanticist she typifies nature and warns of humanities attempts to meddle with it. Such warning is displayed through Victor’s passions of creating life. As quote “I became capable of bestowing animation upon lifeless matter”. Shelly uses an intertextual reference to Frankenstein as being the ‘Modern Prometheus’. As this ancient greek champion of humanity stole fire from the gods and was punished for it with eternal agony, she takes on the moral of this fable that when humans try to emulate god or disrupt natural order they shall be punished.
Continuing Shelly’s distrust of science as Frankenstein realises his potential to create life he warns the readers not to aspire to quote “become greater than nature will allow”. Despite this Frankenstein not only decides to continue but to create a living human being. This is due mostly to Frankenstein’s thirst for knowledge and science quote “I ardently desire the