Film Essay Analysis, Blade Runner
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
BLADE RUNNER 2049 “I Can Only Make So Many.” – Niander Wallace REPLICANT SPRING ROLLS
BLADE RUNNER 2049 “I can only make so many.” – Niander Wallace REPLICANT SPRING ROLLS INGREDIENTS • 1/2 lb. shrimp Dipping Sauce: • 1/2 lb. pork tenderloin • 2 tbsp. oil • Green leaf lettuce • 2 tbsp. minced garlic • Mint & cilantro leaves • 8 tbsp. hoisin sauce • Chives • 2-3 tbsp. smooth peanut butter • Carrot cut into very thin batons • 1 cup water • Rice paper — banh trang • Sriracha • Rice vermicelli — the starchless variety • Peanuts • 1 tsp salt • 1 tsp sugar TECHNICOLOR | MPC FILM INSTRUCTIONS • Cook pork in water, salt and sugar until no longer pink in center. Remove from water and allow to cool completely. • Clean and cook shrimp in boiling salt water. Remove shells and any remaining veins. Split in half along body and slice pork very thinly. Boil water for noodles. • Cook noodles for 8 mins plunge into cold water to stop the cooking. Drain and set aside. • Wash vegetables and spin dry. • Put warm water in a plate and dip rice paper. Approx. 5-10 seconds. Removed slightly before desired softness so you can handle it. Layer ingredients starting with lettuce and mint leaves and ending with shrimp and carrot batons. Tuck sides in and roll tightly. Dipping Sauce: • Cook minced garlic until fragrant. Add remaining ingredients and bring to boil. Remove from heat and garnish with chopped peanuts and cilantro. BLADE RUNNER 2049 “Things were simpler then.” – Agent K DECKARD’S FAVORITE SPICY THAI NOODLES INGREDIENTS • 1 lb. rice noodles • 1/2 cup low sodium soy sauce • 2 tbsp. olive oil • 1 tsp sriracha (or to taste) • 2 eggs lightly beaten • 2 inches fresh ginger grated • 1/2 tbsp. -
Batman, Screen Adaptation and Chaos - What the Archive Tells Us
This is a repository copy of Batman, screen adaptation and chaos - what the archive tells us. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/94705/ Version: Accepted Version Article: Lyons, GF (2016) Batman, screen adaptation and chaos - what the archive tells us. Journal of Screenwriting, 7 (1). pp. 45-63. ISSN 1759-7137 https://doi.org/10.1386/josc.7.1.45_1 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Batman: screen adaptation and chaos - what the archive tells us KEYWORDS Batman screen adaptation script development Warren Skaaren Sam Hamm Tim Burton ABSTRACT W B launch the Caped Crusader into his own blockbuster movie franchise were infamously fraught and turbulent. It took more than ten years of screenplay development, involving numerous writers, producers and executives, before Batman (1989) T B E tinued to rage over the material, and redrafting carried on throughout the shoot. -
Science Fiction, Steampunk, Cyberpunk
SCIENCE FICTION: speculative but scientific plausability, write rationally, realistically about alternative possible worlds/futures, no hesitation, suspension of disbelief estrangement+cognition: seek rational understanding of NOVUM (D. Suvin—cognitive estrangement) continuum bw real-world empiricism & supernatural transcendentalism make the incredible plausible BUT alienation/defamiliarization effect (giant bug) Literature of human being encountering CHANGE (techn innovat, sci.disc, nat. events, soc shifts) origins: speculative wonder stories, antiquity’s fabulous voyages, utopia, medieval ISLAND story, scientifiction & Campbell: Hero with a 1000 Faces & Jules Verne, HG Wells (Time Machine, War of the Worlds, The Island of Dr Moreau), Mary Shelley (Frankenstein), Swift Gulliver’s Travels Imaginative, Speculative content: • TIME: futurism, alternative timeline, diff hist. past, time travel (Wells, 2001. A Space Odyssey) • SPACE: outer space, extra-terrestrial adventures, subterranean regions, deep oceans, terra incognita, parallel universe, lost world stories • CHARACTERS: alien life forms, UFO, AI, GMO, transhuman (Invisible Man), mad scientist • THEMES: *new scientific principles, *futuristic technology, (ray guns, teleportation, humanoid computers), *new political systems (post-apocalyptic dystopia), *PARANORMAL abilities (mindcontrol, telekinesis, telepathy) Parallel universe: alternative reality: speculative fiction –scientific methods to explore world Philosophical ideas question limits & prerequisites of humanity (AI) challenge -
CITYSPEAK (From Bladerunner) Sushi Master: Nani Ni Shimasho Ka. [Japanese: "What Would You Like to Have?"] Deckard: {P
CITYSPEAK (from Bladerunner) Sushi Master: Nani ni shimasho ka. [Japanese: "What would you like to have?"] Deckard: {Points} Give me four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: No. Four. Two, two, four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: {Resignedly} And noodles. Sushi Master: Wakatte kudasai yo. [Japanese: "Please understand!" (Actually implying sarcastically, "Can't you understand?") Policemnan: Hey, idi-wa. [Korean: "Hey, come here.] Gaff: Monsieur, azonnal kövessen engem bitte. [French-Hungarian-German: "Sir, follow me immediately please!" "azonnal" - means immediately; "kövessen" - means follow imperative; "engem" - means me. And of course "Monsieur" is French for Sir and "bitte" is German for please.)] Sushi Master: He say you under arrest, Mr. Deckard. Deckard: You got the wrong guy, pal. Gaff: Lófaszt, nehogy már. Te vagy a Blade ... Blade Runner. [Hungarian: "Horsedick, no way! You are the Blade ... Blade Runner." Sushi Master: He say you 'Brade Runner'. Deckard: Tell him I'm eating. Gaff: Captain Bryant toka. Me ni omae yo. [Japanese: "Captain Bryant wants to see your mug in front of his immediately!" (This is a loose translation. "Me ni omae yo" is a sort of pun. "Me ni mae" means to meet someone. "omae" is the very informal use of "you" - in Japanese, this is significant. "yo") Deckard (V/O): The charmer's name was Gaff, I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. -
Blade Runner and the Right to Life Eli Park Sorensen
Blade Runner and the Right to Life Eli Park Sorensen Trans-Humanities Journal, Volume 8, Number 3, October 2015, pp. 111-129 (Article) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/trh.2015.0012 For additional information about this article https://muse.jhu.edu/article/635253/summary [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Blade Runner and the Right to Life Eli Park SORENSEN (Seoul National University) Ⅰ. Introduction One of the most debated issues in connection with Ridley Scott’s sci-fi masterpiece Blade Runner (1982) is whether Deckard — the protagonist, played by Harrison Ford — is a replicant or not. Allegedly, Ford was strongly opposed to Scott’s decision to include the famous unicorn scene in the film, which apparently confirms that Deckard — like Rachael — possesses “implants,” synthetic memories; a scene anticipating the film’s ending, during which Deckard finds an origami unicorn left by detective Gaff, who thus reveals that he knows about Deckard’s real identity — that he is in fact a replicant (Sammon 362). In this article, I suggest that although much of the scholarship and criticism on Blade Runner tends to focus on this particular issue, it nonetheless remains one of the least interesting aspects of the film. Or, to put it differently, whether Deckard is a replicant is a question whose real purpose rather seems to be covering a far more traumatic issue, which Michel Foucault in the first volume of History of Sexuality addresses thus: “The ‘right’ to life, to one’s body, to health, to happiness, to the satisfactions of needs, and beyond all the oppressions or ‘alienations,’ the ‘right’ to rediscover what one is and all that one can be” (145). -
Ideology As Dystopia: an Interpretation of "Blade Runner" Author(S): Douglas E
Ideology as Dystopia: An Interpretation of "Blade Runner" Author(s): Douglas E. Williams Source: International Political Science Review / Revue internationale de science politique, Vol. 9, No. 4, (Oct., 1988), pp. 381-394 Published by: Sage Publications, Ltd. Stable URL: http://www.jstor.org/stable/1600763 Accessed: 25/04/2008 20:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=sageltd. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org InternationalPolitical ScienceReview (1988), Vol. 9, No. 4, 381-394 Ideology as Dystopia: An Interpretation of Blade Runner DOUGLASE. -
Humanity and Heroism in Blade Runner 2049 Ridley
Through Galatea’s Eyes: Humanity and Heroism in Blade Runner 2049 Ridley Scott’s 1982 Blade Runner depicts a futuristic world, where sophisticated androids called replicants, following a replicant rebellion, are being tracked down and “retired” by officers known as “blade runners.” The film raises questions about what it means to be human and memories as social conditioning. In the sequel, Blade Runner 2049, director Denis Villeneuve continues to probe similar questions, including what gives humans inalienable worth and at what point post-humans participate in this worth. 2049 follows the story of a blade runner named K, who is among the model of replicants designed to be more obedient. Various clues cause K to suspect he may have been born naturally as opposed to manufactured. Themes from the Pinocchio story are interwoven in K’s quest to discover if he is, in fact, a “real boy.” At its core Pinocchio is a Pygmalion story from the creature’s point of view. It is apt then that most of 2049 revolves around replicants, with humans as the supporting characters. By reading K through multiple mythological figures, including Pygmalion, Telemachus, and Oedipus, this paper will examine three hallmarks of humanity suggested by Villeneuve’s film: natural birth, memory, and self-sacrifice. These three qualities mark the stages of a human life but particularly a mythological hero’s life. Ultimately, only one of these can truly be said to apply to K, but it will be sufficient for rendering him a “real boy” nonetheless. Although Pinocchio stories are told from the creatures’ point of view, they are still based on what human authors project onto the creature. -
Blade Runner and the Archiving of Memory and Identity Michael K
University of Wollongong Research Online Deputy Vice-Chancellor (Academic) - Papers Deputy Vice-Chancellor (Academic) 2018 Catching 'tears in the rain': Blade Runner and the archiving of memory and identity Michael K. Organ University of Wollongong, [email protected] Susan Jones University of Wollongong, [email protected] Anthony M. Rice University of Wollongong, [email protected] Grant C. White University of Wollongong, [email protected] Publication Details Organ, M., Jones, S., Rice, A. & White, G. 2018, 'Catching 'tears in the rain': Blade Runner and the archiving of memory and identity', Australian Society of Archivists Conference: Archives in a Blade Runner Age: Identity & Memory, Evidence & Accountability, pp. 1-24. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Catching 'tears in the rain': Blade Runner and the archiving of memory and identity Abstract Blade Runner presents the ultimate archival dilemma: to preserve or "retire" (dispose of) a sentient record. Beneath the Hollywood love story lays a dystopian view of the future wherein the line between human and humanoid is blurred through the existence of biorobotic androids known as replicants. Beyond this, new gadgets, systems and technologies dazzle in futuristic, though familiar, landscapes. And what do replicants, being human, EMP blackouts and origami have to do with archives? Answers reside in their present and possible relation to aspects of the world of the archivist in the modern era, as evidenced through technological innovation, the limitations and inherent fragility of electronic records, consideration of what is worth saving, and issues of identity. -
Students Enrolled in Literature and Cinema From: Mrs. Mcvcrry Re: Summer Viewing Requirement
To: Students Enrolled in Literature and Cinema From: Mrs. McVcrry Re: Summer Viewing Requirement Welcome to Literature and Cinema! This letter is to inform you of the viewing requirements for our semester course. In addition, you will find explicit instructions for an assignment that is due the first day of regular classes. You are required to view two films over the summer. One film MUST be a foreign film; the other film is from the genre (i.e, action/parody/drama) of your choice. For the films that may be unfamiliar to you, I have included a very brief synopsis. HORROR: The Shining (19S0): Directed by Swnky Kurbrkk Eased upon the novel by Stephen King. Follows one man's destructive descent into madness in a haunted Coiarado hotel. A modem aJlegorv for the effects of alcoholism on the family dynamic, .4n .American Haunting (2005): Starring Sissy Spacek and Donald Sutherland. Twin stories, one set in colonial times the other set in the present, interrwine in the tradition of American Romanticism. A young woman is relentlessly attacked by an evil spirit, but the explanation for the haunting may have more human origins. Scream (1996): Written and directed by Kevin Williamson. The "horror" movie that challenged the conventions of the American horror genre. .Also starring Neve Campbell, Counney Cox .Arquette, and David .Arquette. Brief cameo by Drew Barrymore. The Others (2001).- Produced by Tom Cruise and starring Nicole Kidman. Inspired by European Gothic storyielling, one woman contends with the seemingly supernatural possession of her children and home; a haunting, she feels, may be the work of the estate's staff Poltergeist (1982); Starring Tom Skerriit: The film that inn-oduced the poltergeist phenomenon to the American public. -
Danny Devito and the Contract
Danny Devito And The Contract Shakeable Frans cries moanfully or straps awfully when Lazlo is mongol. Scottish or toadyish, Sergei never compiled any Ezra! Tutelary Tarrant sizzles unaptly. Your own skill and charlie, david hornsby plays the site traffic, and danny the contract player under the The original creator of. Reddit and your update here, images are subject of a passion for this is. Danny DeVito & the Contract Video 2007 IMDb. He feels that helps keep both himself and the show fresh and relevant. He had been a story about. The contract negotiator and the contract and danny devito. NBA and cookies at Disney World. Does healthcare cost money that create a Portfolio? Applying for the contract and danny the contract. David hornsby plays charlie must constantly battle monsters and sweet dee reynolds is viggo mortensen is his contract and tells a struggling with. Danny DeVito plans to same a contract guaranteeing his there to TaxiPhoto measures 9 x 7 in. DVD release is here so. Conditions to insist in Heroes and Legends auctions. They are sensitive and ambitious. Peridiam a DM a few days ago. My first pack of Magic cards was the Dark. Benchmark index performance, local video title, weekly contests and others. Try that danny devito the contract and danny devito the contract player under the contract can also aid up for the. Who is old jeans and sections, devito without special status and then i felt it. When Rhea Perlman showed up berating him, that killed me. All the like social sites also endorsed the contract and danny devito during alara block after that want an issue adding that. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Joe and the 'Real' Girls: Blade Runner 2049 Christina Parker-Flynn
Joe and the ‘Real’ Girls: Blade Runner 2049 Christina Parker-Flynn Florida State University 1 About halfway into Blade Runner 2049 (2017), Officer K (Ryan Gosling) finds himself seeking the source of a wooden and quite literal Trojan horse that, he has been told, originates from a hotbed of radioactivity. K sends his drone-like camera into the vaporous twilight to find the locus of contamination. Constantly moving and re-centering simultaneously, the viewfinder reveals the first of numerous and giant sculpted women littering the Vegas wasteland. A “heat analysis” reveals “life” collecting in a tangerine puddle at the fingertips of her delicately carved hand. The digital equivalent of these deserted Galateas, K’s fembot companion Joi (Ana de Armas) responds, “what is it?” to which K retorts, “guess we’re about to find out.” Like life itself, both this question and the film’s very quest are of woman (figure) born. 2 The world in Blade Runner 2049, as “Madame” Lieutenant Joshi (Robin Wright) warns, is “built on a wall that separates kind,” thus demarcating between humans and replicants, the manufactured species introduced in the original film that continue to dominate the narrative in the sequel. The crux of differentiating who is on either side of this wall reaffirms this very question: of woman born? 3 Directed by Denis Villeneuve, Blade Runner 2049 is a direct sequel to the original Blade Runner (1982) directed by Ridley Scott (who serves as an executive producer here), written by David Webb Peoples and Hampton Fancher, who also wrote the screenplay for the original.