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Sample essay topic, essay writing: Ridley Scotts Blade Runner - Ananalysis - 1300 words
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.. a replicant who is a secretary for Tyrell at Tyrell Corporations. As we can see, the female characters in BR are strongly dominated by males. Therefore even though BR could be considered in some opinions a misogynist movie, this is a typical element in Film Noir.IdeologyTo show the ideology of BR, I will give a short analysis of the climax of BR. In my opinion the cat-and-mouse chase and battle between the protagonist and antagonist sums up the ideology in BR. The sequence brings the climax of the movie, and it is between the opposing forces of good and evil.
The main plot is displayed here, when man is fighting the replicant. The protagonist versus the antagonist, good versus bad, man versus machine and so on. Deckard and Batty find themselves being in J. F. Sebastian's apartment just after Deckard had killed the female replicant, Pris
At first Deckard is hunting Batty, but all of a sudden, this is reversed and the protagonist is the hunted. This last struggle between mankind and man-made-machines displays the questions this story asks, as Batty asks: 'Who am I? Why am I here? What does it mean to be human?' (excerpt from Blade Runner). In other words, the movie asks the question of what it is that makes us human. As I see it, the answer to this is empathy: the ability to feel for other things. This ability is achieved by Batty in his last minute of living, when he saves Deckard's life.
Deckard realised this and stated:'Maybe in those last moments, he loved life more than he ever had before. Not just his life, anybody's life, my life. All he'd wanted were the same answers the rest of us want. Where did I come from? Where am I going? How long have I got? All I could do was sit there and watch him die' (Blade Runner, 1982).Another interesting point in this last sequence, is the Christian symbolism. As Batty's life is about to run out, his hand is grasping in spasms.
To halt this process, he drives an old nail spike through the palm of his hand. The sign of the nail spike connotes crucifixion. When the two opposites are up on the roof of the building, Batty is seen with a white dove in his hand. Deckard is trying to escape from Batty and jumps over to another roof in desperation. But Deckard misjudges the distance, and falls short.
As he hangs there, hundreds of stories above the abyss of the busy streets below, Batty appears, carrying a white dove. This living creature is in contrast to Batty - it is a living creature that brings connotations and associations of peace, freedom, love and soul. Batty saves Deckard as he loses his grip. Back on the roof, Batty's life span is running out, and he finally says: 'time to die'. His head drop, and the white dove he held in is hand, is released and flies toward the blue sky. The doves' flight toward the sky is symbolic for Batty's soul to leave the earth.This last sequence is packed with Christian symbolism.
First there is the aspect of the nail in Batty's hand, which clearly connotes the crucifixion of Jesus Christ. The second aspect here is the dove, which flies up to the sky, connoting the soul of Batty going to heaven. The third aspect is Batty saving Deckard, and then giving his own. This connotes the Son who sacrifices his own life, so that Man can live - the death of Batty is the rebirth of Deckard.Binary oppositionsIn any film there are lots of binary oppositions. Some of them are important, others are not.
O'Sullivan et al. argues that a binary opposition is 'an analytic category from structuralism, used to show how meanings can be generated out of two-term systems' (1994, p.30). This means that for instance words that means the exact opposite of the other. For example sea/land, male/female, black/white and so on. According L`evi-Strauss, all contrast makes meaning (L`evi-Strauss, in Taylor, L., & Willis, A., 1999, p. 72).
The most important and also most obvious oppositions in Blade Runner is that between the humans and the replicants. This is implied in the opening sequence where the replicant Leon kills the human interrogator Holden. Here we can clearly see the opposites between humans and the generated replicants. Here we can clearly see what the main conflict of the film is between opposing forces (Turner, G., 1999). The opposing forces here are obviously the replicant and the human.
And this conflict is also the main conflict of the story. There is also a quite complex opposition between Deckard and Rachel. There is one obvious opposite, the fact that she is female and he is a male. There are also a few other oppositions between these two characters:Deckard RachelMale FemaleHuman MachineStrong WeakRational EmotionalDeckard's rationality is changing during the film. This point makes Deckard a binary opposition on himself.
The mission he is supposed to accomplish is being forgotten due to him falling in love with Rachel. The emotions take control over the rationality. Deckard chooses to spear Rachel's life, even though he is supposed to take it away from her. But in this comparison we also see the main opposite of the film, which is the replicant versus the human. This also makes a conflict, because the protagonist (Deckard) makes a relationship to the antagonist (replicant Rachel). In other words, she is an opposing force to Deckard.Another binary opposition in BR is that between the protagonist (Deckard) and the antagonist (Batty).
Deckard is the best Blade Runner there is, and Batty is the strongest and most perfect replicant that has ever been made. These are also the two characters the climax of the film is between. The villain meets the hero and the hero fight and defeat the opposing force, and also re-establish the equilibrium. ConclusionIn conclusion, while studying media text, there are certain similarities that most media texts have in common. During this assignment I have discovered the applicability of the analytical 'tools' binary oppositions and narrative structure. Using these 'tools' made it easier for me to understand my text, and it will also make it easier for me to be critical to different kinds of media texts in the future. Even though Blade Runner has its own way of telling this particular story, it is also possible to 'read' it when considering the binary oppositions and the narrative structure.
When doing this, it is possible to see that this story follows the same pattern as other media texts. References:- Blade Runner [Film]. (1982). Los Angeles: Warner Brothers- Bordwell, D., & Thompson, K., 1997, Filmart, an introduction - fifth edition, The McGraw-Hill Companies, Inc., New York- Gianetti, L., 1999, Understanding Movies, Prentice-Hall, London- O'Shaugnessy, M., 1999, Media & Society - an Introduction, Oxford University Press, Melbourne- O'Sullivan, T., Hartley, J., Saunders, D., Montgomery, M. & Fiske, J., 1994, Key Consepts in Communication and Cultural Studies, Routledge, London- Taylor, L., & Willis, A., 1999, Media Studies - Texts, Institutions and Audiences, Blackwell Publishers Ltd., Oxford - Turner, G., 1993, Film as Social Practice, (3rd ed.), Routledge, London Bibliography:- Bukatman, S., 1997, Blade Runner, British Film Institute, London- Blade Runner, (motion picture), 1982, Warner Brothers, USA- Deese,P, 1998, More Than Human (online), available: http://www.popsubculture.com/pop/bio prosject/sub/more than human.html- Dyer, R., 1998, Introduction to Film Studies (pp.
3-10), in Hill, J., & Gibson, P. C. (Eds.), The Oxford Guide to Film Studies, Oxford University Press, New York- Sammon, P. M., 1996, The Making of Blade Runner, Clays Ltd, St Ives plc- Scott, S., H., Is Blade Runner a Misogynist Text?(online), available: http://scribble.com/uwi/br/br-misog.html - Wood, R., 1986, Hollywood from Vietnam to Reagan, Colombia University Press, New York.
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