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Monstrous Worlds:
Frankenstein & Bladerunner
Frankenstein Extracts Analysis: Emilys Notes
All extracts from Mary Shelleys Frankenstein are taken from the Penguin Classics
Edition, published 1992, with an introduction and notes by Mauice Hindle.
1. The Fall: Critiquing Idealism & Hubris
- Mary Shelley establishes her critique of male
idealism and hubris from the outset of the text. She
you
cannot
contest
the
uses Walton as a frame narrator to strengthen this
inestimable benefit which I shall
critique his unbridled egoism in discovering a
confer on all mankind to the last
passage near the pole echoes Victors quest to
generation, by discovering a
penetrate nature and pour a torrent of light into
passage near the pole to those
our dark world.
countries (p. 13)
How can I describe my emotions at this catastrophe, or how delineate the wretch whom with
such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had
selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the
world of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of
pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes,
that seemed almost of the same colour as the dun-white sockets in which they were set, his
shrivelled complexion and straight black lips now that I had finished, the beauty of the dream
vanished, and breathless horror and disgust filled my heart. (p. 56)
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The words induced me to turn toward myself. I learned that the possessions most esteemed by
your fellow creatures were, high and unsullied descent united with riches. A man might be
respected with only one of these advantages; but without either he was considered, except in
very rare instances, as a vagabond and a slave, doomed to waste his powers for the profits of
the chosen few! (pp. 116-117)
Shelley also uses the Monsters narrative as a means of critiquing her own society. In this
extract, the Monster is an innocent observer and his uniquely ignorant point of view enables
Shelley to strip away our familiarity with society and perceive it afresh.
The Monster lists what he learns of society: of the division of property, of immense wealth
and squalid poverty; of rank, descent and noble blood. This, coupled with the Monsters
tone of surprise at the new wonders of this strange system amount to a radical critique
of the foundation of capitalist Europe. This critique is continued as Shelley points to the
social values of wealth and birth, which is contrasted with the man of no advantages
rendered as a vagabond and a slave, doomed to waste his powers for the profits of the
chosen few! in this way, Frankenstein is clearly a texts that harks forward to Marxism.
Thus, Shelleys critique of industrialised England and the subsequent oppression of the
working classes is unmistakable. Moreover, the Monster who is created by a member of
the ruling classes, ugly, dangerous, hated, rejected and ultimately violent, effectively
symbolises both the oppressed working classes and the revolutionaries in France; a group
commonly referred to as monsters in the public writing of the time.
Finally, it is also worth considering that Shelley not only critiques the social injustice of her
time, but, through the Monsters naivety, also satirises the blinding innocence of those, like
William Godwin and Percy Shelley who tried to live by radical ideals. Both men were
opponents of marriage and private property, idealistically believing that society could be
organised according to the dictates of reason hence rendering laws and governments
unnecessary. As such beliefs fail to take into account the selfish motives of individuals, both
men (like the Monster) learnt of the realities of human nature in a way that brought them
much suffering.
Thus, with such political significances, Shelley incorporates another warning into her
cautionary tale: through the unequal distribution of wealth, the class system and the
exploitation of the working classes, the European ruling classes are responsible for creating a
formidable opponent that will rebel with destructive fury.
Cross-cut back to the extreme close-up of the eye, flames now dominate the superimposed
image. The juxtaposition of flames with the tranquil pyramid in this cross-cut establishes a
relationship between the pyramid and the natural devastation that is being wrought upon
the environment.
Cut to an aerial dolly on approach to the pinnacle of Tyrells pyramid. The scene ends with
the anticipation of what magic will be revealed within the pyramid. The combination of
previous shots of the pyramid, with the skyward pointing lights and the blue glimmer of the
buildings all connote that something hubric, affronting both God and Nature, is occurring
within.
Prodigal Son
The scene is low lit and high contrast, with the colouration being primarily golden. This adds
to the feeling that the scene is taking place in the Heaven of Biomechanics. The scene is
filled with Biblical references and allusions. Throughout the series of conversational closeups between Tyrell and Batty, and the obscured close-ups of a partially concealed JF
Sebastian, there are references to:
All of these add to the cultural cache of the monster returning to plague the inventor, that is
already familiar to us from Shelleys Frankenstein, but is, perhaps, best articulated in
Shakespeares Macbeth: But in these cases we still have judgment here that we but teach
bloody instructions, which, being taught, return to plague the inventor (Act 1, Sc. 7).
The gouging of Tyrells eyes by Batty is rendered graphically in a extreme closeup high angle
of the former and low angle of the latter. A cutaway to an extreme close-up of the artificial
owls disparate eyes reinforces the key theme here: Science may be able to produce or
reproduce anything it wants, but it can not manufacture a soul. Batty is here not simply
trying to achieve catharsis by killing his maker, he is trying, in reference to the adage that
the eyes are the gateways to the soul established at the films outset, to crush whatever is
left of Tyrells soul.
This scene encapsulates the films central message: that the inventions of humanity
designed in a hubric attempt to transcend the limitations of humanity have resulted in the
destruction of humanity. The high operative soundtrack is here used to further evocate the
extent of the transgression against God/Nature.
Low lighting allows for high contrast with the high colour saturated flames exploding
skyward.
All this adds to an Establishing Shot that is reminiscent of Dante Alighieris description of
Hell in the first part of The Divine Comedy, The Inferno.
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The Vangelis soundtrack is a postmodern concoction of orchestral and synthetic sounds. The
amalgam is metonymic of the entire film; the orchestral sounds are resonate of a classical
cautionary tale of hubris, while the synthetic sounds establish the film instantly as a
cautionary science-fiction tale. Overall, the effect is one of establishing a very ominous tone
from the films outset.
The flying cars that fly towards the screen are intended to be startling, Scott uses lens flares
to make their approach blinding. Adding to the intertextuality of the scene, these cars are
reminiscent of Icarus, a story closely related to the Promethean myth that served as
Shelleys primary inspiration for Frankenstein.
Cut to extreme close-up of a eye, upon which a reflection of the previous city vista is
superimposed.
Cut to an extreme aerial long shot, a different one now that has at its centre two pyramids
in the background, with lights shining skyward. The allusion to Ancient Egyptian power and
mysticism is unmistakable.
Dialogue is shot in a series of midshot, close-ups, extreme close-ups. The extreme close-ups
show Deckards sample at a cellular level most striking is the serial number that is
imprinted. A potent symbol of both mankinds hubris in playing God and enslaving Nature to
its own ends, as well as a reminder of how humanity had destroyed nature irrevocably. The
symbolism here is equally applicable to either theme and can be related well to
Frankensteins earlier experiments with Galvanism in re-animating frogs.
The reverse dolly further highlights the alien nature of the environment for Deckard. As well
as further evincing the theme of humanitys enslavement of Nature, in the bird cages that
can be seen to the left of the screen and in the men carrying ostriches.
Scene ends with a pan left to show a snake in a glass cage. One last symbol of humanitys
submission of Nature into a consumer item for its amusement.
Low angle extreme closeup shows us the bemused and benevolent face of Roy Batty. Now
that he has killed God, in the form of Tyrell, he has become God. A God of compassion,
rather than one of subjugation.
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and continued here by Scott; which demonstrates a continuum of concern for the theme of
class struggle.
Arguably, the most famous shot of the film is the above long shot of Deckard holding onto
his life by his fingertips. Perhaps, also an allegorical symbol of the precarious nature of the
upper classes dominance of the oppressed worker; if one were to apply a Marxist reading.
The closeup of Roy Battys hand again reminds of his stigmata from an earlier scene and
deepens the analogy between himself and Jesus the Christ.
The midshot of Roy being backlit by the neon TDK sign is particularly ripe for analysis. In it,
we see Roy seated in the Lotus position, deepening the resonance with a Saviour like figure,
be it Buddha or Jesus. The low lighting and deep shadows make the high colour saturated
neon lightly washes the shot with artificial light. The bright dove Roy holds in his hand is
clearly visible. Together, the TDK sign and its glow with the white dove summarily symbolise
the conflict between artifice and Nature that is at the core of the both texts; Frankenstein
and Bladerunner.
Deckard here plays the part of Frankenstein. And it is worth noting the ironic difference
between the role of creator and executioner.
Like tears in the rain Roys environmental simile again reinforces the pantheistic nature
of both texts. Nature is the Grand Trope to which all things belong and to believe oneself to
exist outside of its scope, is sheer hubris. Roy, in this baptismal scene, has come to accept
his own mortality and his place in the cycle of Nature and is at peace with it, as w see in the
final slow motion closeup of his face before we cut to.
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The low angle shot of INEXPLICABLY clear sky. The dove is unmistakably a symbol of Roy
Battys soul returning to commune with Nature/ God. This is the only shot of the film in
which we see a clear sky, and Scott saves it especially for this moment to emphasise the
point of humanitys need to accept its own limitations, its own mortality and its own place
within the cycle of Nature rather than to vainly make Nature submit to our will.
The low angle wide shot shows the proliferation of phallic skyscrapers as another reminder
of humanitys hubris. Also important is the voice-over advertising A chance to begin again
an admission that humanity has bespoiled the Earth.
All of this relates to Society, Class and Injustice as much as it does to any other theme, as we
clear contrast between the new life that is available to those who can afford and the
hobbled life that is pervasive on the street level, as Deckard sits, waiting for an opportunity
to eat at a crowded outdoor noodle market.
Killing Zhora
This scene is also highly recommended for its symbolic portrayal of social injustice and the
dehumanising effects of globalisation and hyper-consumerism. The POV and cinema verite
style, combined with the highly graphic slow motion of Zhoras death cross cut with
Deckards emotionless face are whats most worth noting.
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