'Analysis of a Cityscape: Blade Runner\r'

'‘Analyse the design of a cityscape in one ingest or video recording episode. ’ nightmargon visions of futuristic societies, or dystopias, atomic number 18 a major theme of the sci-fi genre and most post-1970s Hollywood films word picture these worlds embody a ‘crisis in US semi semi governmental orientation’ at that time. These sci-fi films usually illustrate issues regarding: ‘environmental pollution, over-population, unfounded crimes, bureaucratic administration and sparing exploitation’. They besides represent the unrepresentable, showing us things that we can alone otherwise imagine.In this essay I will feat to explore the labyrinthian landscape of Ridley Scott’s 1982 sci-fi blockbuster sword smuggler, and consider the ways in which it mirrors the social, economic, and political context of the time in which it was made, as advant shape upously as the socio-ecological consequences of contemporary problems much(preno minal) as state of warfare and pollution. I will withal further excuse how the film’s goodishscape is essential to the meaning cigaret its narrative. The design of sci-fi frequently contains alien major planets, foreign bodies, and space-age cityscapes, liberal these spectacular lyingal worlds an overall glossy, futuristic feel. stain branch is a scintillating world with a multistory landscape, but closer examination reveals that inembodiedd indoors this milieu are metaphors of a dystopian fiat. crosswise the top of the skyscrapers are immense neon advertisements and television screens that project messages down for the people to see, showing that this is a world of complete industrialisation. These features provide primarily the master(prenominal) source of light finishedout the city. The overall mise-en-scene is confound and brooding, much like a late 40s and 50s film noir, and the occupation surrounded by light and dark here(predicate) depicts repressed s ocial fears of totalitarian control.The divide in society is evident when we look at the discrimination between the replicants and the humans. The replicants feel safer on the change integrityed streets and embroil working-class lifestyles, for example, Leon works in a skim over hotel, while Zhora works as a exotic belly dancer in Chinatown. Deckard, in contrast, embodys mellowed above the herd streets, protected by amply-tech security devices. law of nature crafts also hover above, beaming down their examine lights and surveilling the people below. The Cold War period consisted more often than non of spying and tense international relations between the US and the Soviet Union.It is almost like Orson come up’ Big Brother, where no one is free and e preciseone is incessantly being watched by a ruling intelligent eviscerate. The theme of paranoia therefore comes into play here; the ubiquitousness of the police force is a visual root of corporate power. The su perstructures that we see dwarf the smaller, decrepit buildings and crumbling computer architecture; this binary contrary thus creates a gamy/low spatial allegory for the lower class- the workers who see below in the post-apocalyptic streets, depressed and dehumanized; and the selected- those who live in high-rise a bumpments above the rest of the city, benefiting from the labourers.Like in Fritz Lang’s Metropolis (1927), the difference between the elite and the masses is virtually dramatised by this spatial opposition and the concept of the upper class is literalised. The vertical architecture serves as metaphor for a hierarchy of diabolic power and is a symbol of economic inconsistency and corruption, intrinsic with a society that is out of kilter. Fears revolving some race, space, and social class are therefore structured within these thematic elements.Figure 1 (page 6) shows the pyramid of the capitalist dust of the early 20th century. People of the States belie ved that anyone could become wealthy and enjoy good lives by working hard †this was the American Dream. Sadly, capitalism reared its miserable head and citizens soon discovered that this economic system benefits only those at the top of that pyramid- ‘the winners gain at the expense of the mass of losers’. It reflects the philosophy of Orthodox Marxism, where economic base determines cultural and political structure. Who consequently controls this huge city?As stated in Antonio Gramsci’s theory of cultural hegemony, a culturally divers(prenominal) society can be dominated by one social class, by manipulating the social floriculture (beliefs, perceptions, values) so that its ruling-class worldview is im arranged as the societal norm, which is then perceived as a universally valid ideology beneficial to all of society, but in accompaniment benefits only the ruling class. The biggest and most ascendent of structures within this cityscape are in fact deuc e pyramids, home to none other than Eldon Tyrell, head of the Tyrell Corporation.Pyramids are archetypal Egyptian symbols of power and immortality. Rising high up within this city, they denote a future day of affluence and progress, and technological triumph. Tyrell’s office is blotto with rich items, golden statues and intricately carved pillars. tear down it is the cinematography techniques here that are key to representing this terrific interior. The warm, golden hues are a stark contrast to the rest of the city that we have been exposed to. The fact that Tyrell’s office is located so high up is an indication that people who live in the highest, most prestigious places are clearly elites.They are at the top of the hierarchical â€Å"pyramids” of economic or political structures- they are the ruling force of society. Since the dropping of the atomic bomb in 1945, science fiction has portrayed dystopias to show the massively destructive capability of cert ain scientific developments. These incubus visions are society’s fears over these developments. Science fiction explores a darker side of science, articulating real fears about advances in areas such as nuclear power or genetical modification.More recently, the Cold War had reached its peak in the 1980s, and the corporate evil seen in leaf blade first echoes a ‘growing weariness of the cold war and anti-communist attitudes that had been maturement since the wars in Korea, Vietnam, and later’. The tone of this period of recital was incredibly pessimistic, with the continuous danger of nuclear war looming over the world. This cynicism about the future of mankind and of the planet is clearly seen in Blade outset. ‘The information age was a time where computers and electronics replaced the heavy industry of the modernist period, and political control was applied through mass media.Information became a commodity, and films that portray these spectacles sh ow them as developments that pose challenges to society. They also correspond to contemporary crises developing in the US throughout the 1980s, for example, use of the media to portray political messages’. Anxiety over scientific and technological advancements is of import to most science fiction films and is a truly apparent theme when examining the cityscape of Blade base runner; from huge television screens, to vertical strata, to the Voight-Kampff machine.They serve as a warning to society over the compulsion to force science and technology to create what is hoped to be a utopia for all, but in fact ends up ascendant everything and everyone to the point where people are no yearlong free. The final aspect of the design in Blade Runner regards the exitscape of the film. Produced by Greek composer Vangelis, the film’s score owes a lot to the meaning slow its narrative. The film’s genre is part cyber-punk, part film noir, and through orchestral instrumen ts and unique electronic sounds, he creates a sense of eeriness or alienation.Most of the music heard is quite ambient, but rather static with no real drive or pinnacle. However, within this ambient structure is a divers(prenominal) range of musical styles, for example, Jazz is heard frequently- an antiquated film noir effect, stereotypically associated with subjugated urban settings, but also more commonly linked to intimate moments, such as the growing love between Deckard and Rachael. However, it is also somewhat melancholic at times and works as a sign of doom, insinuating that things will not end well.A recurring musical symbol is the sound of bells; church bells connote religion, and this is often heard on the top floor of the pyramidal Tyrell building, implying that Tyrell is a powerful, god-like figure. In terms of the film overall, there are very few moments when there is complete silence; even when there is music missing from a scene, sound effects emanating from the en vironment are usually present, for instance, it perpetually rains throughout the film, so rain is heard repeatedly, apocalyptical of the depressed and forlorn atmosphere.The reputable vertical vividness of Los Angeles’ landscape depicts the power relations intrinsic within the cityscape of Blade Runner. It provides us with a picture of decay and abandonment associated with a dystopian world. It is more nightmare than vision, more anxiety than hope, expressing social fears of racial, political, and economic crisis, as well as the perils of advanced technology, whether it be through genetic engineering or a Voight-Kampff assault of humanity. In the end, it is the verticality of the cityscape which ultimately defines the purpose of Ridley Scott’s arbitrary dystopia. Bibliography Bullock, A. , and Trombley, S. (eds), The New Fontana Dictionary of Modern design (Third Edition), Harper Collins, Canada, 1999 Carper, S. , â€Å"Subverting the Disaffected City: Cityscape in Blade Runner” in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K. hawkshaw’s Do Androids Dream of Electric Sheep? Judith B. Kerman (ed) wheel Green, Ohio: Bowling Green University popular Press, 1991 David Desser, ‘Race, Space, and descriptor: The Politics of Cityscapes’, in Alien Zone II, p. 82 Heldreth, L. G. and Kerman, J. B. (ed), ‘The Cutting Edges of Blade Runner’ in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K.Dick’s Do Androids Dream of Electric Sheep? Bowling Green University Popular Press, Bowling Green, Ohio, 1991 40-52 Kellner, D. , Leibowitz, F. , and Ryan, M. , ‘Blade Runner: A diagnostic judge’, in Jump Cut: A Review of modern Media, no. 29, February 1984 King, G. , and Krzywinska, T. ,Science fictionalisation Cinema, capital of the United Kingdom: Wallflower Press, 2000 Prince, S. ,Visions of Empire: Political Imagery in C ontemporary American Film, Greenwood Publishing Group, New York, 1992 Sammon, capital of Minnesota M. â€Å"The Making of Blade Runner. ” Cinefantastique 12 (1982): 20-47 Stiller, A. and Kerman, J. B. ed) â€Å"The Music in Blade Runner” in Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K. Dick’s Do Androids Dream of Electric Sheep? University of Wisconsin Press, Wisconsin, 1997. Pages 196-200 Websites Kurt Bullock, unsloped Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia: http://soma. sbcc. edu/users/DaVega/FILMST_101/FILMST_101_FILMS/Bladerunner/ vertical%20Apocalypse_Bullock. pdf Fig. 1 taken from http://www. aaronblake. co. uk/blog/2010/03/08/the-pyramid-of-the-capitalist-system/) ‘Paranoia and cynicism in Blade Runner’ in American Cinema: 1960-Present: http://amcinema1960present. ordpress. com/category/second-student-post/page/11/ (Fig. 1) ——————&# 8212;———————†[ 1 ]. Douglas Kellner, Flo Leibowitz, and Michael Ryan, ‘Blade Runner: A diagnostic critique’ from Jump Cut, pp. 6-8 [ 2 ]. Geoff King and Tanya Krzywinska, Science Fiction Cinema, p. 64 [ 3 ]. Ibid, p. 73 [ 4 ]. Sammon, capital of Minnesota M. â€Å"The Making of Blade Runner”, Cinefantastique: 20-47 [ 5 ]. Kurt Bullock, Vertical Apocalypse: Altered Noir Cityscape within Blade Runner’s Dystopia, p. 1 [ 6 ]. ibid [ 7 ]. David Desser, ‘Race, Space, and Class: The Politics of Cityscapes’, in Alien Zone II, p. 82 [ 8 ].The Pyramid of the Capitalist System- http://www. aaronblake. co. uk/blog/2010/03/08/the-pyramid-of-the-capitalist-system [ 9 ]. Alan Bullock and Stephen Trombley (eds), The New Fontana Dictionary of Modern Thought, pp. 387â€88. [ 10 ]. Geoff King and Tanya Krzywinska, Science Fiction Cinema, p. 17 [ 11 ]. ‘Paranoia and cynicism in Blade Runner’ in America n Cinema: 1960-Present-http://amcinema1960present. wordpress. com/category/second-student-post/page/11/ [ 12 ]. Stephen Prince, Visions of Empire: Political Imagery in Contemporary American Film, p. 167 [ 13 ]. Leonard Heldreth, ‘The Cutting Edges of Blade Runner’, pp. 40-52\r\n'