I would like to thank Dr. As my dissertation supervisor, he offered advice and judgement which were hugely helpful. It goes without saying that any errors are my own. Critical reaction to the film was generally negative also:
Moving Out[ edit ] I think what we have done in this page is a load of original research. Unless we can properly reference, it should we moved out of Wikipedia. I dont know if he has published on it yet, and unfortunately I don't have time to look atm. Thanks to everyone who has contributed to it and still are.
So when you changed it to imply that I was saying the audience needs the plot explained to them, it just went from dumb to dumberer.
Having to have the plot explained isn't Dickian; having to be told you're not human is. I'm mulling whether to use mind-fuck rather than mind-bend, because Phil would have wanted it that way.
And I'm going to remove the idiotic statement in one of the upper sections that "Deckard" is pronounced like "Descartes. It's either the dumberest part of the article, or the subtlest troll I've seen in months.
I actually have a very strong opinion on the subject i. Your scientific method at work. To find that he is a replicant, points up the poignancy of the film's core ethical position: In terms of the story itself, Decakard's staus as a "skinjob" makes him more orthogonal to the beings he kills, but it problematises the most important relationship: Hwarwick - To emphasize Deckard's struggle to find his own identity, and to cause the audience to feel as he does in their own struggle to understand Deckard's identity, and ultimately to question their own understanding of how we can know our own humanity is different, and how we can know anything cf.
If the audience does not know the answer until the end, and the characters do not know it either, then the story makes the audience and the characters ask again what is the difference between me and something un-human if I can be either human or un-human and I need someone else to tell me which?
This interpretation would also fit the mind-bending quality of a work by Philip K. Tension in his books often relies on the false paranoia of characters whose identities are being manipulated, impressed on them, or hidden from them.
His style is to misdirect the reader—brainwashing the reader as the character is—before allowing the mystery to be solved, sometimes leaving open the identity crisis as well as the philosophical questions of identity and knowability.
I agree the information is presented earlier in the article, but I think at the point where the scene is presented as evidence it's important to point out the purposefulness of Scott's director's cut revision.
I'll leave it as-is, and if you agree, you can add it back in. I'm just going to nudge a typo I noticed.
When I've got some more time right now I'm kind of procrastinating on something else I'll read all the stuff you've pasted here and see if there are things that are missing in the article. He has, I think, learned, that the replicants are just as human and just as deserving of life as any "real" human.
And, through Deckard, we learn this too. We, too, are challenged by the notion that humanity cannot be assigned, that it is not an inherent trait as much as the label we assign to a very deep, colorful, and complex interplay of thoughts and emotions.
And regardless of their origins, the replicants, by virtue of their emotions, needs, and desires, had become just as human as us. If Deckard had been a replicant, much of the movie's relevance to us, the real humans, would have been lost.
What would Deckard have learned provided he was an N6? That he too was a "skin job"? That he was being used by humans to do the dirty work agains his own kind? That his memories lied to him and so how can anyone trust their memories? Except for the memory question which is still valid if we hold Deckard to be a human all of these are internal conflicts--ones he must struggle with himself, and ones that we may be titillated by, but not ones that have much relevance to the viewers.
On the other hand, if we consider Deckard to be a "real" human, his gradual insight into the humanity of the replicants and into the tragedy of their situation becomes a lot more personal. Deckard becomes our "Watson", our personal probe into the movie's world, and his struggles and discoveries are also ours.
I don't think we can have him be a replicant AND have his personal dilemmas and ponderings on life be directly relevant to us at the same time. For those who say that we could just as easily learn from a machine, I suggest that then Deckard's central role in the movie was superfluous--after all, we could learn a lot from Roy or Pris too, couldn't we?
My take on it was always that Deckard is human, but the deliberate confusion about possibly being a replicant is primarily there as part of Dick's way of thinking to raise the issue of what it means to be human. What exactly is the difference between human and replicant in the end?
Scott's just taking things a bit too literally; or, if you like, giving an answer when the point is in having the question.
Actually I have half a mind to add at the end of that debate my thesis on the Deckard issue.May 10, · For my final presentation/essay on how empathetic robots in film alter the idea of singularity.
Blade Runner The Final Cut - Made For Each Three Problems with Descartes 'I . Blade Runner and Descartes’ Theory The Representation of the Body in Blade Runner - This essay will discuss the representation of the body in Blade Runner because in discussing the effects of something yet to happen which is the dystopia presented by Blade Runner, in the present tense i.e.
in assuming that it has already happened, we gain. Blade Runner and Descartes’ Theory Essay Words 3 Pages In the film “Blade Runner”, replicants are made perfectly like human beings through a well-done ‘skin jobs’ and genetic engineered.
“Blade Runner” is a neo-noir science-fiction film about a dystopian Los Angeles in where a Blade Runner – Deckard – has to ‘retire’ four replicants who have escaped from an off-world colony. The film is directed by Ridley Scott and produced by Michael Deeley.
- Blade Runner as a Classic Film Noir and a Science Fiction Film Blade Runner, a well known 80’s science-fiction film, begins in , set in the industrial city of L.A., the scene lit only by the many neon lights and molten guisers.
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