Our Interest in the parallels between Frankincense and Blade Runner is further enhanced by consideration of their marked differences in textual form. Evaluate this statement in light of your comparative study of Frankincense and Blade Runner. Composers construct their Imaginations within characters. Yet Inexplicably explore and address the societal issues and paradigms that are prevalent of their eras. Albert Einstein, once proclaimed, “It has become appallingly obvious that our technology has exceeded our humanity. The central message embodied within the hysteric’s words become the backbone of Mary Shelley 1818 gothic novel, Frankincense and Riddle Coot’s 1991 sic-if film, Blade Runner whereby both composers construct their characters by imbuing them with qualities that challenge the established social values of that time. Despite the disparity In contexts, these texts convey the universal idea that the fatal consequences of humanists desire for omnipotence and unbridled ambition ultimately leads to a detached society through Shelves use of a macabre, gothic undertone and Coot’s film noel.

In Frankincense. Mary Shelley illustrates a confronting image when contrasting the personalities of Victor and the monster In their reunion, after the Initial creation in Inconstant using Galvanism’s concept of electricity as a reanimating force. This uncharted use of scientific thinking defies societal milieu of the time, causing the responder to realist Frankincense’s grave mistake. Within the fragmented epistolary style. Their confrontation in the “desert mountains and dreary glaciers,” represents their pollarded attitudes; a noble savage vs.. N egocentric scientist. The monster rhetorically asks in a pleading tone, “have I not suffered enough, that you seek to increase my misery? … L ought to be thy Adam, but I am rather the fallen angel… Make me happy. ” This Biblical allusion reiterates Shelley faith in the divine whereby the reference to Million’s Paradise Lost reinforces hardship and evokes pathos for the monster. On the other hand, Victor Ironically reacts in an Inhumane fashion with strong imperatives, “Bygone!

I will not hear you. There can be no community between you and me; we are enemies. Bygone” The repetition of “bygone” reinforces Victor’s attempts to ignore his creation and denial of their inevitable bond of father and son. Ultimately, the monster’s “benevolent nature” is transformed into a thirst for retribution as he questions how Victor could “sport with life,” as Shelley warns us of humanists inherent yearning to usurp the role of the creator.

Similarly, Blade Runner warns of an artificial world devoid of human Involvement, a direct consequence of the lack of human responsibility for the Earth, reflecting the explosion of a more pesticides microchip development during the 1 sass. The bombardment of mass media advertising of “Coca Cola” and the like within the film, allows us to understand the growth of consumerism in the Us, whereby extending societal expectations. The opening panoramic shot of Los Angels In 201 9 reveals a morose world, 11th by the glow of corporate advertisements, representing Coot’s bleak vision of the future.

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Furthermore, the fireballs, together with the haunting Evangelism non-dietetic music emphasizes the nightmarish dyspepsia, reflecting an awareness of the decaying environment, similar to how Shelley employs the monster’s tale to represent t Off the monsters’ last moments, Roy Patty’s final moments reveal that in truth, the replicates can be seen as epigraphically, “more human than humans” whereby he sacrifices his own life to save another. “I’ve seen things you people wouldn’t believe.

Attack ships on fire off the shoulder of Orion……. .. III those moments will be lost in time, like tears in the rain. Time to die. ” Here, the simile provides the responder an insight into the experiences that physically and emotionally scarred Roy before his useful acceptance of death, mirroring Jesus’ crucifixion. In this way, this epic finale enacts Riddle Coot’s warning that overbalance on technology will cause us to become detached from society without retreat.

Often unchecked personal ambition leads to disregard for ethics which causes us to ignore our surroundings, especially our perception of others. The search for humanity in Shelley Frankincense questions whether humans have the capacity to act altruistically. Victor’s retrospective words “how dangerous is the acquirement of knowledge,” encapsulates the warning of such actions in his senseless experiment where body parts are referred to as reductive “materials,” further evoking his detachment from any humane feelings.

The monster’s metaphysical Journey whilst residing in De Lackey’s cottage acknowledges his altruistic actions whereby the Juxtaposition in that he “was benevolent and good, misery made me a fiend,” accentuates the inevitable nature of humanists fatal flaw. Shelley reiterates the cruel nature of society in our obsession with physical appearance, positioning the audience to feel compassion for the monster who has been unjustly objurgated. This is paralleled within Riddle Coot’s Blade Runner, where the composer echoes the rise of capitalism in the sass and perpetuates notions of humanists obsession with immortality through scientific progress.

Similarly, the conflicting father-son relationship is highlighted as Roy evaluates “it’s not an easy thing to meet your maker,” whereby Utterly employs high modality to praise the replicate Roy Patty’s perfection “look at you, you’re the prodigal son, you’re quite a prize. ” Roy, like the monster, pleads for something “radical: I want more life, father” here the Christian reference establishes Utterly as the creator, further fuelling his egocentric personality.

Utterly ironically Justifies that “to make an alteration in the velveteen of an organic life system is fatal,” suggesting that he does not understand the impact of his unrestrained ambition which has fatal repercussions; this acts as Coot’s indirect caution to the audience. Paralleling the emphatic kiss between Judas and Jesus, Utterly and Rosy final embrace reinforces society’s ability to betray, reiterating the criticism of our rapidly materialistic society.

Thus, we can see how both Shelley and Scott represent their zeitgeists through characters in Frankincense and Blade Runner respectively, as they draw upon their society concerns to warn us of the universal consequences of overstepping our boundaries, where unbridled ambition results in a dehumidifying effect upon society. Subsequently it becomes evident that despite their temporal and contextual differences, through common concerns that transcend genre and composers’ purposes, these texts are explicitly linked.

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