![]() ![]() ![]() However, if these replicants try to return to earth, they are to be “retired” by special police officers, called “blade runners.” Despite the profane nature of this world, however, the sacred subtext is clearly indicated. To colonize the off-world, humans use replicants, a manufactured life form, to perform all the tasks deemed too dangerous or unpleasant. Populated by those not able to get to a better existence off-world, the city is simultaneously crowded and desened, technologically advanced and economically deprived. This refusal, in turn, reinforces one of Blade Runner’s primary strategies: to deny easy interpretations.Ĭertainly, no touch of the divine appears to exist in the L.A. Even more significantly, these narratives refuse clear one-to-one correspondences with the film’s narrative. The sacred story of the beginning of humanity and the founding of the nation of Israel intersects in intriguing ways with the seemingly profane world of Blade Runner. However, there is another narrative from Genesis that has been largely neglected, that of the patriarch Israel (born Jacob). 2 This parallel is certainly valid the Biblical story of the creation and fall, whether found in Genesis or elsewhere, is central to the film. Although some critics have noted Blade Runner’s borrowings from Biblical sources, they have been primarily concerned with the creation story, which, interestingly enough, they have seen as arising more from Milton’s Paradise Lost than directly from Genesis. While exploring the film’s links to any of these traditions would be a profitable endeavor, here I am concerned only with two particular narratives from the Biblical book of Genesis. 1 However, in all the discussion of the different genres encompassed by the film, one significant element has been consistently overlooked-its religious subtext.Īs a religious allegory, Blade Runner draws on elements from a number of sacred traditions. Dick’s 1969 novel Do Androids Dream of Electric Sheep?, Blade Runner is not solely a science fiction film instead it appropriates elements from a number of genres including science fiction, detective drama, horror, and film noir. Ridley Scott’s 1982 film Blade Runner has often eluded precise critical definition. ![]()
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