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Over time the values and opinions of society have dramatically changed however the importance of religion, its teachings and its influence on society still remains strong into the 21st century, yet it can be said the influence science has over religion has started to grow.
At the onset of the Industrial revolution with romanticism drawing to a close Shelley released her sci-fi, promethean-esque thriller Frankenstein. Similarly at the dawn of another new era that of the capitalistic-consumerist, increasingly globalised and technologically dominated late 20th century Ridley Scott unleashed his enigmatic future noir film Blade Runner. The similarity of these texts in exploring themes of humanity and playing God through a tone of moral warning to a looming dystopian reality create the environment to explore how similar content in a different context will reflect changing but also constant values.
Both Scott and Shelley use their texts as a cautionary tale, warning humanity of their inevitable downfall through greed and the exploitation of nature, and the influence science is slowly obtaining over the role of religion. Through the use of visual and auditory techniques, Scott demonstrates how nature and religion are absent in a world overrun by consumerism and technology while Shelley similarly uses imagery and allusions to hint at the consequences humanity will suffer if they try to better God through the misuse of science and the exploitation and nature.
Composed in a time of major scientific developments, including Galvani’s concept of electricity as a reanimating force, Shelley’s Frankenstein utilises the creative arrogance of the Romantic imagination to fashion a Gothic world in which the protagonist’s usurpation of the divine privilege of creation has derailed the conventional lines of authority and responsibility. Her warning of the dangers of such actions is encapsulated within Victor’s retrospective words of “how dangerous is the acquirement of knowledge”, whilst Shelley’s use of a fragmented epistolatory narrative adds a disturbing sense of truth, foreshadowing the dark consequences of Frankenstein’s actions. Moreover, her allusions to John Milton’s Paradise Lost evoke the poetic retelling of Satan’s fall from grace, wherein the monsters’ association with “the fallen angel” exacerbates the effects of Victor’s rejection, ultimately transforming its “benevolent nature” into a thirst for retribution. Together with its questioning of how Victor could “sport with life”, Shelley’s warning reverberates past the page, directly questioning the scientists of her era, including evolutionary theorist Erasmus Darwin, to reinforce the dangers of humanity’s inherent yearning to play the role of the Creator.
Such a warning also exists within Scott’s Blade Runner, hence linking the two texts throughout time, where the director echoes the rise of capitalist ideals and the Wall Street mantra, “greed is good”, through the symbolic dominance of Tyrell’s towering ziggurat, a reflection of both his desire for omnipotence and commercial power. Tyrell’s egocentric nature is epitomised within the religious connotations of his abode, including his voluminous bed, modelled after that of Pope John Paul II, as well as his reference to Batty as “the prodigal son”. Such symbols are unnervingly subverted through both the foreboding chiaroscuro of flickering candle-light with shadow and his violent death at the hands of his own creation. Scott’s warning of the dangers of such a desire is also evident within the expansive shots of 2019 LA, revealing a dark and tenebrous world lit by the glow of corporate advertisements, a representation of a bleak future dominated by commercial dominance. Hence, by drawing upon elements of his context, including the growth of capitalism and the ‘trickle-down theory’ of Reagan’s era, Scott positions us to reassess the consequences of overstepping our boundaries.
Humanity’s rejection of the natural world in favour of the unnatural pursuit of technology to prolong life is a major concern in both Shelley’s Frankenstein and Scott’s Blade Runner. In the world of Frankenstein, nature is an important aspect of a person’s life and beliefs. Shelley conveys Victor’s desire to conquer nature through the use of his narration such as “new species would bless me as its creator…many happy and excellent natures would owe their being to me.” The monster is then used as a metaphor for the inevitable consequences of the exploitations of nature. She therefore uses Frankenstein as a warning against the rising industrial revolution. Similarly Scott uses Blade Runner to warn society against the exploitation or nature through the rise of consumerism in the 1980s. The long shot of a dark dystopian Los Angeles after the opening credits juxtaposed with jets of fire from oil refinery towers warns the viewer of the consequences of consumerism through the exploitation of nature. There is also a lack of natural imagery such as plants and animals seen in Blade Runner and the use of chiaroscuro lighting gives the world a very artificial tone indicating to the audience that nature has been destroyed.
The idea that science is replacing religion is apparent in both Frankenstein and Blade Runner. Both Shelley and Scott use many biblical allusions to suggest that these new beings of science have replaced religion as a whole among society. At the time Frankenstein was written the scientist, Erasmus Darwin, had begun to foreshadow the idea of evolution which went against the church’s view of existence. This radical thinking influenced Shelley as she used Frankenstein as a warning for what would happen if man promoted science and not god. Shelley uses an extended metaphor as well as biblical allusions to portray the creator, Victor, as God while his creation as the fallen angel Lucifer. This idea is suggested by the monster in the quote where he states, "I am thy creature; I ought to be thy Adam, but I am rather the fallen angel.” The downfall of Frankenstein is seen as another consequence for defying God and religion and embracing science. Similarly at the time of the release of Blade Runner there was tension in relation to the cloning debate. Scott used Blade Runner to warn against man’s effort to better God.
Scott portrays Tyrell as God through religious allusions, such as the pyramidal shape of the Tyrell Corporation building, and uses the same extended metaphor to show the replicants as angels who have fallen from heaven, as seen in Roy’s dialogue to Chew: “Fiery the angels fell.” The juxtaposition of the dark landscape of the city with the bright lights of the Tyrell Corporation also indicates that science has taken the role of religion. However other biblical connotations are made in the film that illustrates the sense that religion is still an influential part of society’s standings. In one of the final scenes Roy is seen pushing a nail through his hand, he later uses this hand to save Deckard; his pursuer. This exemplifies Roy’s transformation from a Lucifer character to a Christ symbol with the nail representing the stigmata in Jesus hands upon crucifixion. Thus when Roy grabs Deckard with this had he is showing selfless mercy and self sacrifice similar to that of Christ.
Greed and pride are both driving factors which compel humanity in its defiance of ethics and its pursuit of something more. Both Frankenstein and Blade Runner portray the creators as egocentric and indifferent to the needs and feelings of their creations. With the industrial revolution came great economic benefits. Shelley uses Frankenstein to warn society of the terrible nature of greed and the consequences that will befoul humanity if they give in to that desire. Victor Frankenstein creates his monster because he wants to be the first to create life; he wants the fame and the self-satisfaction of accomplishment,
“Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world.”
Similarly Blade Runner shows the effects of the breakthrough in computers and how society is letting machines get bigger and better than us as is the motto of the Tyrell Corporation "more human than human ". Tyrell is seen as a man who lacks insight, humility and empathy; he builds the replicates for money out of greed and relishes in spoils. Scott uses a low angle shot to demonstrate the enormity of the Tyrell building, emphasising Tyrell’s greed to the audience; while the shadow the building creates over the city portrays the consequences of this greed on society.
In conclusion Frankenstein and Blade Runner both deal with similar issues such as humanity, religion and greed however due to the context in which each piece is written the messages, meanings and opinions conveyed in each by the different composers are considerably different. Thus it can be said as the cultural context in which texts are composed is altered so too are the way these issues are perceived.
