The similarities that contradict the statement are evident from the consequence of rejecting creations, the ultimate death of both creators and the nobility of the creations in accepting responsibility for their actions. In contrast, the differences between the texts influenced by time and changing contexts are seen in the distinct definitions of life regarding what makes us human, the ending and clearly, the different forms of both texts.
First and foremost, Mary Shelley wrote Frankenstein in a novel format in 1816 as it was the primary intellectual medium of the 19th Century; a means of communicating philosophical beliefs to the literate. However, after the …show more content…
passage of the industrial revolution and scientific advancements in media, Blade Runner was produced into a film by Ridley Scott in 1983 as it attracted a wider audience that encompassed more social classes. This reveals that time and changing contexts undoubtedly dictates the form of the text, critically supporting the statement.
The alternative title to Frankenstein, The Modern Prometheus, highlights that Shelley saw a direct comparison from the Greek myth of Prometheus and Victor Frankenstein actions in usurping the role of god by creating life.
However, this feature contradicts the statement as it is also intrinsic in Blade Runner where Tyrell replaces god by creating replicants - the creationist concept is not shaped differently by time and changing contexts.
Primarily, in the world of Frankenstein nature is untouched physically and there is no awareness of the consequences the Enlightenment could have on nature itself. The age of science had not taken shape and no environmental problems were threatening. Therefore in Frankenstein, Shelley’s Romanticist ideas influence the definition of what makes us human. From the monster’s interaction with nature in the metaphor “the pleasant sunshine…restored me to…tranquillity”, we see that humanity originates from close contact with nature
itself.
Conversely in Blade Runner, the increasing breakdown of society and dysfunctional family relationships in the 20th Century signifies humanity comes from “memories…you’re talking about memories”, as put simply by Deckard and literature. Roy quoting William Blake “fiery the Angels fell…deep thunder rolled around their shores” alongside Priss’ classical allusion to Pascal in “I think Sebastian, therefore I am”, demonstrates that in Blade Runner philosophical literature is how we gain human qualities. This further reinforces the statement, as different time and changing contexts determines the definition in both texts of what makes us human.
However, after the numerous industrial revolutions that used up non-renewable energy sources leading to gradual environmental decay, Scott made the movie Blade runner - a foreshadowed world if man replaces nature with science and commerce. The opening panoramic scene of Los Angeles in stygian darkness and high pitched ethereal synthesised notes, suggests high places. Yet a sudden crash of explosions, slightly off-key, is symbolic that nature is non-existent – this is hell on earth.
Here the irony of Los Angeles portrayed as Hades filled with “fallen angels” is also revealed in Frankenstein where the monster claims “I ought to be thy Adam…rather the fallen angel”. This highlights that despite different contexts and time, the biblical allusion of “fallen angels” is a symbolic reference used to describe the breakdown of society, also contradicting the argument of the statement.
Initially, this creationist idea is intrinsic in Frankenstein. His childhood shows us his Romanticist upbringing in the metaphor “innocent…bestowed…by heaven…received…patience…self-control…guided by a silken cord”, yet he also is enthralled in the Enlightenment movement “I delighted in investigating…the world…a secret which I desired to divine”. He has the qualities and ability to follow the Romanticist and Enlightenment path, but he chooses pride over prestige “I myself capable of bestowing animation…the gratitude…I should deserve”.
Shelley’s portrayal of Frankenstein as an embodiment of the Enlightenment is clearly influenced by the Romanticist movement in the 19th Century, who saw the start of industrialisation as a potential downfall of humanity and nature. He is ultimately destroyed from replacing god in creating life – Frankenstein has “…lost everything and cannot begin life a new” from ambitiously pursuing scientific discovery, the epitome of the Enlightenment.
Equally, Tyrell also has these ambitious ideas that in replacing god by creating life, it will place him above the ordinary - a god-like figure. The biblical allusion to Roy “you are the prodigal son”, suggests that he arrogantly sees himself as a saviour to society and Roy is his perfect creation. Yet by denying the replicants humanity from forcing them into slave labour, Roy condemns him in “Nothing the God of biomechanics wouldn’t let you into heaven for” –he is in truth a destroyer of society and humanity in Blade Runner.
Tyrell’s death, through the eyes, is symbolic of a spiritual death and together with Frankenstein’s eventual demise in the cold, a clear warning by Scott and is conveyed regarding the costs of following the path of the Enlightenment and over-urbanisation. So we see that both Frankenstein and Tyrell’s downfall is similar, a spiritual death, as a result of arrogantly believing they deserve to be an extraordinary god-like figure. This critically contradicts the statement as despite time and changing contexts the consequences of man replacing god is similar.
Furthermore, Tyrell and Frankenstein’s rejection of their creations, denying them humanity, are key similarities between the texts, irrespective of time and changing context. Frankenstein refers to his creation as a “daemon…wretch…the miserable monster” while Tyrell is dismissive “Rachael is an experiment…nothing more…try her”. Yet both creators believe they can control their creation; Frankenstein is flawed by pride in the metaphor “a new species would bless me as its creator….” alongside Tyrell who states replicants are “emotionally inexperienced…if we gift them a past…we can control them”. The idea of containing their creation, a form of slavery is clearly similar in both texts, contradicts the statement as time and changing contexts play no role in ensuring they are different.
A strong comparison can also be made when both Roy and the monster, seek their creator in search of more life and companionship. Both creator’s deny theses wishes; Frankenstein distrusts the monster “your evil passions will be renewed…companion to aid you in the task of destruction…I cannot consent” and Tyrell reject Roy’s request “to make an alteration to an organic life system is fatal”. Here this denotes that regardless of different time and changing contexts, in following the path of science the creator is rejecting humanity and human emotions, further opposing the statement.
Moreover, in both texts Roy and the monster deaths are portrayed as human. While Frankenstein perishes in the cold - robbed of all emotion and family, the monster, the established human, dies in nobility “my spirit will sleep in peace…I shall collect my funeral pyre…consume to ashes this miserable frame…unhallowed wretch”.
Likewise, Roy’s death is also depicted as human, almost god-like, from the release of the white dove and his frozen, angelic stature. His sense of self awareness in “…lost like tears in the rain…time to die”, illustrates his realisation of what it means to be human and like the monster, he dies in dignity. While biblical beliefs clearly have an important role in the death of creators, time and changing contexts ensure that they are similar, seen from how both creations dies in nobility, additionally disputing the statement.
However, the final ending of both texts are distinctly different, shaped by the philosophical views and social values of the time. In Frankenstein, Walton is left spiritually scarred from nature and returns to England aware of the potential destruction in following the Enlightenment path – there is hope left.
Contrastingly, the gradual breakdown of society in the 20th Century influences, in Blade Runner, the final closing door on blackness, symbolism of no hope, no future, supported by Graff’s words “too bad she won’t live…but then again who does”. The statement is supported here, as the final ending of the two texts is distinct from two clearly different time and changing contexts.
Overall, Frankenstein offers us a future where we are spiritually lost, and nature ultimately endures without us. On the other hand, Blade Runner is more extravagant in that we are physically and spiritually lost and in losing who we are, we have lost also nature and the environment around us.
Conclusively, the two texts have intrinsic similarities concerning aspects of replacing the role of god in creating life which ultimately contradicts the statement. While simultaneously also presenting the view that time and changing contexts have ensured they are different seen in the form of the text, the definition of life and what makes us human and the ultimate ending. Therefore, in conclusion, the statement “Frankenstein and Blade Runner share much, yet time and changing contexts have ensured they are two very different texts” is to an extent a generalisation, as both texts clearly encompass strong similarities and differences.