Blade runner

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M OR E H U MAN THAN HUMAN A research paper on philosophical topics in the film Blade Runner

Alexander Jean Edvard Le Sage de Fontenay R贸bert Hilmar N铆els Haraldsson Film And Philosophy (HSP410G) The University of Iceland Spring 2013

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Foreword Blade Runner is a 1982 dystopian science fiction film directed by Ridley Scott. It owes a large debt to film noir and is a good example of the neo-noir film genre. It has drama, action and romance. It is loosely based on the 1968 novel Do Androids Dream of Electric Sheep? by Philip K. Dick. The film has a differentiated plot. The audience is lead to side with both the film’s protagonist and antagonist. In these and many other ways Blade Runner forces the audience to reevaluate what it means to be human.

This research paper will focus on what it is that makes Blade Runner a film that does philosophy according to Jerry Goodenough. An important theme is humanity as well as how the human race affects it’s environment. Light will be shed on whether the dystopian future in Blade Runner gives these philosophical issues a stronger or weaker case.

Setting Blade Runner depicts a dystopian year 2019 on Earth, more specifically Los Angeles. Because of unknown reasons Earth has become desolate. Most of the human race has left earth and moved to a one of Earth’s colonies, i.e. other other planets inhabited by humans, which are called off-world colonies. Many technological advancements have been made.

Genetically engineered servants, flying cars, powerful weapons and giant flying advertisements are a common sight. Said genetically engineered servants are called replicants and made to look virtually identical to a human being. They are made by the Tyrell Corporation whose newest line of replicants, called Nexus 6, are superior in strength and at least equal in intelligence to humans. The corporation’s slogan is as follows: “More Human Than Human”. The Nexus 6 replicants have a four-year lifespan to prevent them from developing their own emotional responses which could potentially prove to be a problem. A mutiny by a group of replicants on one of the colonies has lead to them being declared illegal on Earth. Hence they are exclusively used for dangerous, menial or leisure work in the colonies. Replicants that defy the ban and return to Earth face dire consequences. Special police operatives called Blade runners have orders to hunt down and retire them. Since the replicants are not considered human the word retirement is used instead of execution.1

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“Blade Runner.”

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The Plot The plot of Blade Runner revolves around a group of recently escaped Nexus 6 replicants that have turned to hiding in Los Angeles. One of them (who we later find out is called Leon) is caught and made to take a test used to verify if he is a replicant. These are called Voight-Kampff tests and while being administered to one Leon kills a Blade runner called Holden. This is where the film’s protagonist, a retired Blade runner called Rick Deckard, is asked by his former boss, Captain Bryant, to handle the case because of his expertise in the field. He reluctantly agrees to do so and is teamed up with a fellow police officer called Gaff. Deckard learns that the group of Nexus 6 replicants on the loose in Los Angeles are Roy Batty (who is likely the leader), Leon (who killed Holden), Zhora and Pris. Their reason for coming back to Earth is that they are seeking ways to expand their lifespan. In order to ensure the Voight-Kampff tests work on Nexus-6 models he goes to the Tyrell Corporation. While there he discovers that Tyrell’s secretary Rachael is an experimental replicant. She has implanted memories of a childhood and life she never had. This makes her oblivious to the fact that she is a replicant. After paying Deckard a visit, to prove that she is human, she leaves in tears when he tells her she is not. Deckard and Gaff then search Leon’s apartment and find clues that lead them to both him and Zhora. Deckard retires Zhora while she tries to escape him in downtown Los Angeles. Bryant informs Deckard that he also has to retire Rachael since they now know she is a replicant. Leon confronts Deckard thereafter and tries to strangle him but is shot in the head by Rachael in order to save Deckard. The two of them discover they are in love with each other and Deckard promises that he would never retire her. In order to find Tyrell and make him expand their lifespan Roy and the other replicants deceive and kill two Tyrell Corporation employees.

One of them leads him to J.F. Sebastian who in turn brings them to Tyrell. Roy demands an extension to his lifespan from Tyrell. Tyrell explains that this is impossible and Roy kills Tyrell and Sebastian. Deckard goes to Sebastian’s apartment after the murders. There he shoots Pris, after she ambushes him, who dies a very sad but inhuman death. He is then trapped in the apartment with Roy who proceeds in chasing him throughout the building.

They ultimately face each other at the roof of the building. Roy, with his inhuman strength easily jumps from rooftop to another. When Deckard attempts to jump one and ends up desperately hanging onto his life from the side of the building, Roy saves his life. Roy’s four year lifespan is up and he spends his last moments before he dies describing the highlights of his life to Deckard. Gaff congratulates Deckard on a job well done and that it

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is a shame that Rachael will suffer the same consequences as Roy. The protagonist goes to his apartment where he finds Rachael and they embark on a new life together.2

A Film That Does Philosophy According to Jerry Goodenough philosophers have four reasons to go to the cinema. First off, in a process that might be called Philosophy and the Cinematic Experience, he may care about the cinema itself. This includes the technology, process and social meaning of watching films. For example the philosopher might be interested in the nature of the film experience and human perception of films. Secondly films may interest the philosopher because it illustrates philosophy. These films potentially provide graphic illustration of a number of philosophical issues. They may illustrate certain films in philosophical theories while avoiding to fully approach them philosophically. A philosophical discussion in this type of film might get in the way of other emphasized elements such as it’s action. The third reason is that films that are about philosophy might evoke the philosophers interest.

These films incorporate philosophical issues into the plot of the film in some way. A film’s character might mention philosophical problems so that it becomes a central or serious part of the the audience’s experience. The final reason that might arouse the philosophical thinker when going to the cinema are films that do philosophy.3 I want to argue that Blade Runner actually does philosophy as opposed to just illustrating a philosophical problem.

According to Goodenough films that do philosophy are to be taken as seriously as texts by philosophers. They are in fact philosophy in action, not just illustrations of the views of philosophers. They could themselves be evaluating such views.4 This makes the films highly influential on the audience. Blade Runner is a seriously powerful film for those who watch it. It’s groundbreaking special effects, soundtrack, setting and characters leave few untouched. I feel that it makes a lot of contribution to intellectual debate regarding what is means to be human, the potential risks of technical development and Earth’s depleting resources. It makes the audience reflect upon themselves. Their own lives and it’s significance. The first time I saw Blade Runner it had enormous effect on me at age ten. I have 2

“Blade Runner.”

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Read and Goodenough, 1-3.

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Same, 20.

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had a certain attachment to it ever since. I have seen it on a regular basis in the last decade and now at age twenty two my understanding of it has progressed. I have been able to let myself think about it in a lot of ways. Recently, when focusing on the philosophical way of thinking about the film, Blade Runner has really spoken to me. Just like a philosophical text it makes me think about myself in context with what I am being exposed to with real conviction.

Benefits of Science Fiction and Dystopia Many versions (seven to be exact) of Blade Runner exist today. The most popular ones are the European theatrical cut and the director's cut. The theatrical cut has a narrator while the the director's cut does not. The absence of a narrator was Ridley Scott's and most of the crew's involved original plan but the film studio insisted that this would make the film to hard for the general public to understand. Scott wanted the film’s score, special effects and atmosphere to speak for itself rather than having a narrator supply the audience with all the information.5 It could be said that the science fiction elements in Blade Runner are both used to justify the use of extensive special effects, which were new at the time, as well as to make the message of the film more clear.

According to Thomas E. Wartenberg in Film As Argument certain thought experiments can be used in philosophical discussion. More explicitly, they can function to provide a counter-example to a philosophical thesis. For the purpose of thinking about fiction (in both literature and film) with regard to philosophy these experiments can be quite helpful.6 They can help the film’s audience reach a greater and more easily achieved understanding of the philosophical questions reflected in certain films.

Merriam-Webster’s dictionary defines dystopia as an imaginary place where people lead dehumanized and often fearful lives.7 Furthermore it defines science fiction as fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.8 This is exactly the time and place Blade Runner depicts. New technology, fear and uncertainty dominate the hu5

"Dangerous Days: The Making of Blade Runner"

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Wartenberg, “Film as Argument”, 131.

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“dystopia."

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“science fiction.”

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man race’s existence. The use of this depiction is found in the way it affects the audience.

By presenting a different way of looking at everyday life to them, they are bound to compare it to their own. In this way the film’s significance in philosophical discussion is improved by these science fiction elements. Certainly this creates a better philosophical ground than many other types of film that don’t feature such contrasts the audience can compare their own experience to.

A Human Status Blade Runner sets forth questions regarding humanity. What makes a human human.

Merriam-Webster’s dictionary defines a human as a being having human form or attributes susceptible to or representative of the sympathies and frailties of human nature.9 As seen in the film, technical progress in the near future can complicate the interpretation of this definition. The replicants in the film are made to look and act human so as to best accommodate human needs and their society. They are created to be able to make memories and show characteristics of human nature. They have all the provisions to lead completely exemplary human lives. Yet, they are limited to a four year lifespan. Furthermore they are objectified and their retirement (not execution) is justified because of their inability to feel pain and lack of a human status. If they would feel pain, killing them would be a moral crime.10 It could be argued that they are robbed of their humanity in this way. Society refuses to treat them as persons.11 This can easily be seen as the reason for the frustration depicted and violence inflicted by the replicants in the film. We see this behavior as the expression of pain and suffering.12 Rachael is an example of a replicant who is completely human in every way. To the extent that she is unaware that she is a replicant. It’s nearly impossible to see something inhuman about her. She falls in love with Deckard and makes him doubt his duty as a Blade Runner when he realizes he is himself in love. All this makes the audience reflect on their own lives. They might question their own humanity or the the privilege they hold in everyday life. Viewing of the film might also reinforce concern towards the definition of what it is to be human. Nothing - except the unwillingness of other 9

“human.”

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Mulhall, “Picturing the Human (Body and Soul): A Reading of Blade Runner.”, 88.

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Film as Philosophy: Essays on Cinema After, 11.

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Mulhall, “Picturing the Human (Body and Soul): A Reading of Blade Runner.”, 88.

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human beings counts against the replicants being treated as human. This entails that the humanity of all beings is in the hands of their fellows. To be defined as humans they need acceptance by others. Captain Bryant is a standing example of a human being that lacks emphatic attunement while still being defined as a human. Hence both the humans’ and replicants’ humanity in the film can be doubted.13 An important element portrayed in the film is that of mortality. In Blade Runner we see both human beings and replicants die before their time. Human beings and replicants stand in the same relationship towards death.

This means they have that in common that every moment of their existence contains the threat of the end of their life. According to Stephen Mulhall this is an interpretation of the human relationship to death according to Martin Heidegger.14 Authentic being-towardsdeath as Heidegger would define it involves a capacity to acknowledge and accept the moment of our death when it comes. It can be said that as Deckard witnesses and acknowledges Roy’s death he learns a lesson about the acknowledgement of others and about mortality.15

Conclusion Blade Runner may be a leading example of a film that fuels philosophical argument and raises questions. Human existence, the difference between good and bad, violence and forbidden love are only few of many themes these questions can be paired with. It is a highly influential film that does philosophy. It does so in a way since it can very well leave the audience to reevaluate certain things in their lives. It is a really interesting film to compare with others since it has a very unique atmosphere. It’s special effects and set design creates a fertile ground for new ideas and philosophical discussion. It has had a huge impact on films that have anything to do with philosophy as well as the film industry. Undoubtedly there are people out there that share this authors love of the film.

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Mulhall, “Picturing the Human (Body and Soul): A Reading of Blade Runner.”, 90.

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Same, 94.

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Same, 99.

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Sources

"Dangerous Days: The Making of Blade Runner" Blade Runner, DVD. Directed by Ridley Scott. (The United Stats: The Ladd Company, 1982). “dystopia." Merriam-Webster.com. 2013. http://www.merriam-webster.com/dictionary/dystopia (accessed April 3rd 2013).

Fancher, Hampton and David Peoples, Blade Runner, DVD. Directed by Ridley Scott (The United Stats: The Ladd Company, 1982). “human.” Merriam-Webster.com. 2013. http://www.merriam-webster.com/dictionary/humans (accessed April 3rd 2013).

Mulhall, Stephen. “Picturing the Human (Body and Soul): A Reading of Blade Runner.”

Film and Philosophy Volume I. Society for the Philosophic Study of the Contemporary Visual Arts, 1994.

Read, Rupert, and Jerry Goodenough, ed. Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell. Palgrave Macmillan, 2005. “science fiction.” Merriam-Webster.com. 2013. http://www.merriam-webster.com/dictionary/science%20fiction (accessed April 3rd 2013) Wartenberg, Thomas E. “Film as Argument.” Film Studies: An International Journal Issue 8 (2006): 126-137.