Texts in time highlight the concerns pertaining to the prevailing social doctrines

of the composers era. Modern interpretations of texts provide a conceptual

understanding of the values present in their predecessors. This is clearly the
case in Mary Shelleys 1818 gothic novel, Frankenstein, which addresses the rise
of Galvanism in the midst of the Industrial Revolution, and in Ridley Scotts 1982
cyberpunk action movie, Blade Runner which stresses the predominance of
Capitalism the 20th century. Despite the time difference of 150 years, Shelly and
Scott collectively explore the dismal consequences of playing God in the name of
scientific advancement. Both texts are linked throughout time by demonstrating
that humanity is sacrificed for mans unrestrained desire for progression, an
issue which transcends our time.
Composed during major scientific developments, Shelleys Frankenstein depicts
the repercussions of derailing the conventional lines of authority and
responsibility; i.e. playing God. The infatuation with reanimation through
Galvanism of Shelleys time brings her protagonist, Victor Frankenstein, to create
a ghastly fusion of life and death. Her warnings are implanted in her fragmented
epistolary narrative to foreshadow the dark consequences of Frankensteins
actions. The pessimistic visual imagery of Victors nightmares and mental break
downs are an extended metaphor for breaking these religious boundaries. The
contrasting characterisation of Frankensteins nave self with the Frankenstein
whose state of mind preys upon my health conveys Newtons 3rd law. By
utilising personification with the law of physics, that for every action there is an
equal and opposite reaction, Shelly shows how science results in a loss of
humanity. Her critiquing of the Enlightenment period, where knowledge was the
centre of authority, is shown through the repetition of horror and
Frankensteins regretful tone how dangerous is the acquirement of knowledge.
Thus, Shelley alerts her audience of the costly effects of meddling with science
to overthrow God.
A similar warning of the dangers in usurping God exists within Blade Runner,
hence linking the texts throughout time, as the Scott explores the rise of
Capitalist ideals and explosion of technology in the 1980s. Scotts futuristic
setting, 2019 Los Angeles, connotes an advanced society through religious
inferences of the Creator, Tyrell, who manufactures bioengineered androids.
These replicants reflect the rising computing industries especially Microsoft
during Scotts time. The allegorical reference to the most advanced replicant,
Batty, as the prodigal son demonstrates the overruling of Tyrell himself

enhanced by a tracking shot in which Batty exceeds Tyrell in height and strength.
The notion of usurpation is also reflected in the recurring eye motif of the
mechanised owls eye which symbolises the false wisdom of the God of
Mechanics. These artificial clones forewarn an apocalyptical future in which
technology infiltrates every facet of life. Ironically, the replicants in Blade Runner
represent what it means to be human as they think, therefore I am. The biblical
allusion of Batty as a saviour through crucifixion of nails in his hands reveals the
growing atheism of Scotts time.
Both texts warnings also encompass the loss of humanity from technological
abuse, where the influence of Romanticism and gothic fiction within Frankenstein
predicts the flaws of a mechanical society. The dramatic change of the working
life catalysed by the Industrial revolution is reflected in the didactic plot as
Frankenstein isolates himself to grapple with science. His estrangement from
nature is juxtaposed with the monsters chief delights being the sight of flowers,
birds and all the gay apparel of summer. The binary opposition of the monsters
Romantic poetic dialogue and Frankensteins Gothicism is emphasised in the
alliteration deep, dark, deathlike solitude. The enormity of playing God is
accentuated by the biblical allusion of Satans fall from grace, I ought to be thy
Adam, but I am rather the fallen angel. In this paradox, the creature is
contrasted with the negative connotations of the devil due to mistreatment of his
creator, allowing Shelley to question what defines someone as a human being.
Frankenstein thus refuses to fulfil his duties as a creator modelling how how
artificial creations lead to dehumanisation.
An extension of this can be seen in Blade Runner which comments on the surge
of globalisation and commercial dominance. The opening panoramic shot of the
high rise buildings covered in advertisements and smokestacks, symbolic of hell,
is accompanied by haunting non-diegetic music to show the rise of
commercialism during Scotts time. Tyrells towering monolithic pyramid-shaped
corporation reflects economic rationalism, accentuated by the onworld where
only the rich can live. Such superficial values of the 20th century convey Scotts
concerns towards diminishing humanity, enhanced by the slogan Commerce is
our goal here at Tyrell. The pathetic fallacy of constant acid rain pouring over an
Asian-dominated LA reflects the 20th centurys fear of immigrants from the
Vietnam War. Deckards escape to the unknown world in which he hopes to
begin again alludes to the potential of a better life which is reminiscent of
Shelleys monsters intention to leave for the vast wilds of South America.

However, urban decay due to the Wall Street mantra greed is good, conveyed
through a high angle shot of mis en scene lacking in natural beauty and children,
eliminates the hope of a new beginning. As such, Scott warns his audience that
exploitation of science and deforestation, which was controversial 1990s,
inevitably leads to a claustrophobic world.
Through the use of science, the limitations of mankind are exceeded in both
Frankenstein and Blade Runner, reflecting a desensitised society which no longer
values life or understands what it means to be human. Hence, despite the barrier
of time, Shelley and Scott draw upon similar societal concerns which are still
applicable today, by portraying the dire consequences of overstepping
technological boundaries. Ultimately, both texts provide a cautionary, prescient
tales for the future.