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Frankenstein and Blade Runner Essay

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Humans have an intrinsic fascination with contravening the innate tenets of existence, as the proclivity of the human condition to surpass our natural world leads to destruction. This inherent desire of man to augment our knowledge through conquering science and the secrets of life has transcended time, denoting literature premising the corruption of humanity. These pieces are reflected in Mary Shelley’s Frankenstein and Ridley Scott’s film Blade runner, perpetuating this assertion that man’s unnatural desires of deducing reality are precarious. Thus both composers postulate a grim future arising from man’s predilection of aberrant behaviour, as commonalities reinforce this desires opportunity to cause destruction. Paranormal creation and humanities emotive detachment are explored in both pieces, as their respective context has shaped conceptualisations of man’s desires which lead to destruction.
Humanity possess a congenital desire to conquer science and the secrets of life, a notion exemplified by Shelley through creation and its propensity for destruction, contextually shaped by Luigi Galvani’s theories of galvanisation. Shelley has thus remodelled the Promethean myths axiom of man overreaching his biblical passivity through playing God, her response acting as a cautionary tale to scientists during the Industrial Revolution. The monsters belief that ‘I ought to be thy Adam but instead I am thy fallen angel’ is a literary allusion to Milton’s Paradise Lost, perpetuating Shelley’s admonitory of man’s desires as Victor’s monster and Satan are ‘irrevocably excluded’ from compassion, unlike their creators. Comparatively Roy is the ‘meteor from heaven, metaphorically aligning him to Milton’s Satan and thus developing a similar prem...


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...lley’s ideology that neglecting nature due to man’s desires is destructive. Yet Scott presents nature as a status symbol, Zhora’s snake that ‘once corrupted man’ holding biblical allusions to man’s expulsion from the Garden of Eden. Scott thus develops Shelley’s principle further as the ‘City of Angels’ ironic entitlement reflects our pessimistic future, premising the capitalist degeneration of our world due to man’s desires since the Romantic enlightenment in Shelley’s period.
Conclusively, Shelley’s Gothic piece accentuates a cautionary tale of man’s destructive desires of conquering science and the secrets of life. Scott extends Shelley’s premise as he presents our possible future, utterly devoid of nature due to man’s destructive pursuits. The bible states ‘he that increaseth knowledge increaseth sorrow’, reflected by man's destructive desires in both pieces.



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