Module a

Whilst texts may be sour constructs of composers imaginations, they also explore and address the societal issues and paradigms of their eras. This is clearly the case with bloody shame Shelleys novel, Frankenstein (1818), which draws upon the rise of Galvanism and the Romantic Movement of the 1800s, as sound as Ridley Scotts film Blade Runner (1992), reflecting upon the increasing cypher industry and the pre government agency of capitalism within the late 20th Century.Hence, an compendium of both(prenominal) in light of their differing contexts reveal how Shelley and Scott ultimately warn us of the dire consequences of our desire for omnipotence and brainsick scientific progress, concepts which link the two texts passim time. Composed in a time of major scientific developments, including Galvanis concept of electricity as a reanimating force, Shelleys Frankenstein utilises the creative self-reliance of the Romantic imagination to fashion a Gothic world in which the protagon ists usurpation of the divine privilege of creation has derailed the formal lines of authority and responsibility.Her admonition of the dangers of such actions is encapsulated within Victors retro words of how dangerous is the acquirement of knowledge, whilst Shelleys use of a fragmented epistolatory narrative adds a disturbing sense of truth, bespeak the dark consequences of Frankensteins actions. Moreover, her allusions to John Miltons Paradise Lost chevy the poetic retelling of Satans fall from grace, wherein the daemons tie with the fallen angel exacerbates the effects of Victors rejection, ultimately transforming its harmonic nature into a thirst for retribution.Together with its questioning of how Victor could entertainment with life, Shelleys warning reverberates past the page, directly questioning the scientists of her era, including evolutionary theorist Erasmus Darwin, to reinforce the dangers of our humanitys inherent yearning to flow the role of the Creator. Such a warning also exists within Scotts Blade Runner, hence linking the two texts throughout time, where the director echoes the rise of capitalistic ideals and the Wall Street mantra, greed is good, through the symbolic dominance of Tyrells towering ziggurat, a reflection of both his desire for omnipotence and moneymaking(prenominal) power.Tyrells egocentric nature is epitomised within the religious connotations of his abode, including his voluminous bed, pattern after that of Pope John Paul II, as well as his reference to Batty as the prodigal son. Such symbols are unnervingly subverted through both the foreboding Chiarscuro of flickering candle-light with shadow and his violent destruction at the hands of his own creation. Scotts warning of the dangers of such a desire is also seeming(a) within the expansive shots of 2019 LA, revealing a dark and tenebrous world lit by the glow of merged advertisements, a representation of a bleak future dominated by commercial dominance.Henc e, by drawing upon elements of his context, including the growth of capitalism and the trickle-down theory of Reagans era, Scott positions us to reassess the consequences of overstepping our boundaries. In addition, both texts warnings also encompass the dangers of unrestrained scientific progress, where Frankenstein further demonstrates the Romantic Movements influence on Shelleys mindset, as her criticisms of the Age of Reason and Industrial Revolution reflect their denigration of rationality.The imagery of the dead corpse and repetitious use of villainy upon the creation of the miserable monster establish a strong standard atmosphere of death and despair around this scientific advancement, whilst Victors warning of Walton to avoid ambitions of science and discoveries encapsulates Shelleys vilification of contributors to the Industrial Revolution, including renowned spotter James Watt.Moreover, Shelley stresses her warning through the protagonists connections with nature, where Victors insensibility to its charms, arising from his tightness in science, results in his deep, dark and deathlike solitude, with the heavy alliteration exemplifying his degraded sense of humanity. Conversely, the monster possesses greater benevolence and a more intimate connection with the pleasant showers and genial warmth of jumpstart, with such characterisation capturing Shelleys reflection of Romanticisms idolisation of nature, cautioning us against the dehumanising effect of unrestrained scientific advancement.Blade Runner is no different, with Scotts reflection of the explosion of technological progress during the 1980s, including the rise of cipher giants IBM and Microsoft, sidle uping the dangers of such unrestrained progress. Most notable is the opening panoramic shot of blazing smokestacks which, together with the haunting synthetic pulses of the Vangelis soundtrack, establishes a expel miasma of technological overload, adding further semiotic weight to the films nightmarish dystopian agenda.Indeed, this portrayal of a decaying environment reflects the growing ecologic awareness of the 1980s, which, whilst different to Shelleys Romantic values, is similarly employed to highlight the destruction of mankind due to technology. Moreover, Scott illuminates us to the dehumanising effects of such progress, foregrounded through Deckards retiring of the Replicant Zhora.Here, the stylistic placement of the transparent poncho places further emphasises the abandon of her death, with slow-motion low angle shot conveying her heightened sense of humanity within her last painful moments. In contrast, Deckards emotionless features, together with the savourless drone of the droid, suggests that our artificial creations will ultimately lead to the dehumanising of mankind, undermining our humanist exemplar and hence, warns us of the dire consequences of unchecked scientific progress.Thus, we can see how both Shelley and Scott reflect their zeitgeists in the ir texts, Frankenstein and Blade Runner, as they draw upon the societal concerns of their time in order to warn us of the consequences of overstepping our boundaries and unbridled technological advancement. Subsequently, it becomes evident that despite their temporal and contextual differences, both texts are in event linked through their common concerns and concepts.