Both textual form and textual values are influenced by context and the

respective audiences. This is abundantly evident to a great extent in both Mary

Shelleys Frankenstein and Riley Scotts Blade Runner. Only bBy studying both
texts together and analysing their context and textual form is the purpose of
each text revealed. Shelleys 1818 Gothic epistolary novel reflects concerns of
her time; it was composed during the Industrial Revolution, and discusses
dramatises the risks of uncontrolled scientific progress. Scotts 1992 celluloid
dystopia responded to the rise of transnational corporations of his post-industrial
context by arguing the dangers of unhampered technological
innovationadvancements. Both texts also require the responder to reconsider the
true nature of humanity. By It is by studying both texts together and analysing
their context that the purpose of each text is revealed: not for mankind to halt
scientific or technological progress, but to take moral responsibility for the
consequences of such actions.
Shelleys Frankenstein exemplifies exhibits both Gothic and Romantic
characteristics in warning scientists and inventors of her the time against
usurping the role of the Creator in her novel. Shelley illuminates amplifies this
desire of Frankensteins through the biblical allusion the Adam of your labors to
describe the monster, as well as Frankensteins declaration, A new species
would bless me as its creator and source. Here, Shelley strongly suggests
Frankensteins hubristic personality; he fantasises over creating a new species.
Shelley also further highlights Frankensteins obsession through the anaphora,
one thought, one conception, one purpose, and the Gothic description in
Shelleys recount description of Frankenstein as [dabbling] among the
unhallowed damps of the grave. When Shelleys Frankenstein successfully
infuses the spark of life in the monster, she alludes to Luigi Galvanis
endeavours to reanimate life. Shelley suggests that such disruptions to the
natural order may have dire consequences, illustrated through the horrid
anatomical imagery His limbs were nearly frozen, and his body dreadfully
emaciated by fatigue and suffering. The intertextual reference in the novels
title, referring to Frankenstein as the modern Prometheus, alludes to the
Promethean myth, in which there is a price for attempting to steal the gift of life.
Thus, Shelley suggests that emulating God will have consequences.
Similarly, Scott highlights portrays mankinds hubris and desire for omnipotence
/to become the Creator in his dystopian film. This is most obviously achieved in
the characterisation of through Tyrell, who has successfully made humanoid
replicants. Blade Runner begins with an establishing, oblique aerial shot showing
a 2019 Los Angeles in decay surrounded by technology but devoid of nature.
The hellish flames in the opening scene around the city allude to John Miltons
Paradise Lost, evoking an image of hell to suggest the consequences of
attempting to usurp the role of the creator. The giant ziggurat of Tyrell
Corporation dominates the landscape; this towering building is a biblical allusion
to the Tower of Babel, which man built to challenge the authority and role of God.
Here Scott insinuates to his context, emphasising mankinds unrelenting pursuit
of commerce. The presence of the simulated sun and the artificial owl inside the
Tyrell Corporation show Tyrell attempting to control even nature. Similarly, While

machines have become more human, humanity has been depersonalised. Scott
reveals that even Deckard has a serial number Im Deckard. Blade Runner.
B26354. This is combined with the flickering artificial neon lighting and the eerie
non-diegetic music present throughout the film to symbolise a lack of hope, the
degradation of the human spirit. [Concluding sentence]
Through a comparison of Creator and creation, Shelley also remarks on the
degradation of humanity, questioning whether humanitys self-absolution of their
own actionsirresponsibility leads to the lack of distinction between human and
monster. Frankensteins harsh tone in his description of the monster (I beheld
the wretch -- the miserable monster whom I had created) implies the monsters
lack of human qualities, despite the problem of its manifest being. However,
Shelley contrasts complicates this by suggesting that this is Frankensteins fault.
The archetypal mad scientists through his neglect of responsibilityduty,
illustrated by the biblical allusion and use of juxtaposition in the monsters
dialogue I ought to be thy Adam; but I am rather the fallen angel, is the root of
this novels evil. While Frankenstein is depicted as a bumbling fool, using passive
passively voice voicing in his awkward reasoning: but have you not already
shown a degree of malice that should make me distrust me. T, the monster is,
ironically, represented as an eloquent being skilled in rhetoric [quote maybe
when he begs for a wife?]. This begs the audience to reconsider the meaning of
humanity.
Scott builds on brings a cinematic sensationalism to this the dilemma between
humans and replicants through film techniques in Blade Runnerof monstrosity in
Blade Runner. Throughout the film, the recurring motif of an eye serves as both
metaphorical and literal symbolism for the differences between the humans and
replicants, appealing to and challenging the audiences perception of humanity.
This is evident in the Voight-Kampff test between Leon and Holden, suggested by
the close-up of Leons eye, as well as the latters nervous composure, as
illustrated by the loud diegetic sounds of Leons heartbeat in the background and
the replicants fearful voice I kinda get nervous when I take tests.
Antithetically, Holdens initially casual disregard of the formers questions,
accentuated by the latters ironically robotic and emotionless voice please dont
move despite being a person, provokes speculation about who is truly human.
Tyrells thick glasses also suggest moral blindness, a flaw which is punishable by
eye-gouging by his prodigal son. Scott also conveys this through differences in
language, similarly to Frankenstein. The English spoken by Bryant and Deckard is
corrupt, including slang such as skin-jobs and grammatically inaccurate
sentences such as Im twice as quit now. On the other hand replicants are
portrayed as articulate beings capable of intimacy, shown through Roy Battys
quotation of Blakes poetry and the close-up of the formers kissing withamorous
embrace with Pris. As the action of the film progresses, Deckard and Batty
appear to switch roles, hunter becoming hunted, inhuman becoming human,
antagonist becoming protagonist. Indeed, the agonists are increasingly
indistinguishable in their struggle, doppelgangers in binary opposition. Scott
blurs the lines between humanity and monstrosity, to the extent that the

differences are no longer apparent, suggesting that replicants are indeed,

ironically more human than human.
By studying Frankenstein and Blade Runner together, one gains fresh perspective
into the parallel themes presented by the composers of each text. Both
composers warn against humanitys hubristic pursuit of the role of God, implying
that continuing on such a journey may lead to disastrous consequences. This
may lead the audience to question what humanity is, and whether humanity is
simply a construct. Thus, it is evident that despite their differing contexts, the
concerns of both texts link them together.