Comparison Of 'Androids And Blade Runner'

In the 1968 novel Do Androids Dream of Electric Sheep? by Phillip K. Dick and the 1982 film Blade Runner, the portrayal of the android Luba Luft in the book and Zhora in the film depict two very different lifestyles, central motives and personalities. Both the novel and the film explore Rick Deckard’s internal struggles as a bounty hunter/blade runner. In the book, the character of Luba Luft is portrayed as a talented opera singer with a voice that “rated with that of the best.” She is first spotted by Rick Deckard wearing her elaborate opera costume complete with “heavy, convoluted robes” and a “veil about her shoulders and face.” Luba Luft’s modest sophistication also shown by her choice of attire at the museum where she is seen “wearing

Zhora is an exotic dancer. The film’s portrayal of Zhora objectifies her and focuses on her physical attributes. The film fixates on her body as she is either scantily clad, topless or naked in the shower. The clothing Zhora flees in consists of above the knee spiked boots, a harness bikini, and a clear plastic raincoat. Her neck is adorned with a snake tattoo. She is portrayed as a gruff, crass woman struggling to make ends. Zhora states that she would not be working “at a place like this” if she could afford a real snake. Zhora is aggressive and incredibly strong as shown by her ability to take down Rick Deckard. Additionally, Zhora’s decision to attempt to fight and then flee rather than accepting her fate displays her willful and forceful nature. The film’s final shot of Zhora after her demise, shows her plastic raincoat encasing her body, containing the blood spilling out of her body. The plastic exemplifies her artificial existence as well as the general viewpoint that androids are disposable. Additionally, Zhora’s death amongst the artificial snow and mannequins further emphasizes her manmade existence. Rick’s first view of Luba Luft is within the opera house during a rehearsal of Mozart’s the “Magic Flute.” The initial setting creates an image of heightened sophistication and culture. This imagery is extended to the art museum where Luba is spotted gazing at an oil painting. Luba is left down a corridor where she spots

He is portrayed as a talented assassin, reluctantly pulled back into the role of a blade runner. Rick sets out to retire Zhora, but his reluctance to kill again is highlighted throughout the scene. The use of sound illustrates the mood of the chase scene. The use of the diegetic sounds of voices, car engines, sirens, and crosswalk notifications while Rick scans the streets for Zhora, emphasizes his struggle to seek her out in a crowded area. As the chase begins, the diegetic sound narrows itself down to crosswalk notifications, a few cars, and then a motorcycle. The illumination of some of the street noises, illustrates Rick’s focus. Once the shots are fired, the diegetic sounds are gradually muffled, the sound of the shot echoes and the non-diegetic jazz music swells. Rick’s focus intensifies as he attempts to retire Zhora. The sounds used during the killing of Zhora, consist of the glass breaking and the intensifying of the jazz music. The choice of jazz music alters the mood, creating a sense of sadness as Rick watches Zhora collapse to the floor. Zhora is pictured screaming, but her scream is not audible as if Rick purposely blocks out her suffering in order to stay in the mentality of a blade runner. In a voiceover Rick dismisses the official report statement that killing Zhora would be considered a “routine retirement of a replicant” since