By Scott Bukatman
Blade Runner has proved to be some of the most enduring and influential movies of the Eighties. In his cutting edge examining, Scott Bukatman information the making of the movie and its gradually enhancing fortunes after its preliminary unlock. He situates the movie by way of the debates approximately publish modernism that experience educated the big physique of feedback dedicated to it. even supposing Blade Runner explores the tensions primary to a postmodern period of bewildering technological swap, Bukatman argues, it derives from the quintessentially twentieth-century, modernist event of the city--the event of an area either imprisoning and releasing.
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1987), p. 11. IL: Southern IlIlnols Unlverslty 44 See Melvln M. 123. ), Film 89 Thls clever elue was 38 Raoul Vanelgem, 'Baslc Press, 19901, p. ), and Mental L1fe', p. 326. SituatJonJst IntematJonal Antho/ogy (Berkeley, CA: Webber et al. (eds), 52 Ann Douglas, Terrible Honesty: Mongrel Manhaftan m the 1920s (New York: spotted by Dletneh Banallties', trans. by Ken Preslel-Verlag, 1996), p. 34. , p. 152. , p. 453. 54 Koolhaas, Delirious New York, p. 33. , p. 62. P Telotte, ReplicallOns: A RobotJc Hlstory al the SClence Fictlon Film (Urbana: Unlverslty 01 79 Sehlvelbusch, Railwav Joumey, p.
The dissolution of the body, and 1tS replacement by 1tS own technological slmulatlon, was repeatedly posited as empowerzng. Technology was mternalised, bound to a sense of se1f that was strengthened but which somehow remamed bas1cally the same. Donna Haraway redefined the value of the cyborg m ways that are more relevant to Blade Runner's amb1gUltles. In her well-known 'manifesto for cyborgs' she argued for a femImst rereading of technologlCal bemg in a world that has blurred aistinctlOns between orgamsm and machine.
But 1 suspect that Simmel's argument continues to be relevant because Cltles, at least images and stories of cities, continue to represent the human pos1tlon w1thm a still-mcreasmgly technolog1sed, commodified world. City films and urban SClence fictions like Blade Runner 'make a place' m Wh1Ch to test the tenslOns, and play out the contradictlOns, of concentrated cities, spectacular societies and the continumg struggle to eX1st m the bnght dark spaces of the metropolis. BLADE RUNNER Notes 1 Fredric Jameson, Postmodernlsm, or the 8 Oliver Sacks, 'To See and no.
Blade Runner (BFI Modern Classics) by Scott Bukatman