![]() ![]() Hence the hyperreal Rheya is what television is to Baudrillard-an image which has replaced and monopolized the real. ![]() Key Words: cyborg, Blade Runner, impenetration, cyberpunk, technological l determinism, partial subjectivity, ![]() This re-reading also examines how the film reflects our relationship with technology in our contemporary, global information age. This close analysis of the film re-examines how it offers a representation of the impenetration of the human and technology within the diegesis of the film through the notion of the “replicant”- a technologically designed entity that exemplifies this fusion of the human and technology, creating a new subjectivity that collapses the boundaries between the human and machine. ![]() Unger Sogang University Graduate School of Media Ridley Scott’s prescient science fiction film Blade Runner (1982), thirty-three years after its initial release still marks a significant shift in the cyberpunk aesthetic and thematic changes of the notion of “alien” as “Other” within the science fiction film genre. Abstract A Study of the Impenetration of the Human and the Technological in Science Fiction Film: -Revisiting Blade Runner. ![]()
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