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Dissolving Literature and Film in Blade Runner 4 Revisiting The Notes Introduction 1 . Joyce seems to constitute a tradition apart, with different approaches to the modern. Eco considers Joyce’s A Portrait of the Artist as a Young Man as an attempt at the modern, Dubliners , although coming earlier, as more modern than the Portrait ; Ulysses is on the borderline, and Finnegans Wake initi- ates the postmodern discourse by demanding, in order to be understood, not the negation of the already said, but its ironic rethinking (Eco, 1984, p. 68). 3 Blurring Genres: Dissolving Literature and Film in Blade Runner 1. “Blurring genres” is an intentional reference to Geertz’s text “Blurred genres: The Refiguration of Social Thought” in Local Knowledge: Further Essays in Interpretive Anthropology (2000, pp. 19–35). 2 . This word refers both to a historical and legendary figure and to an opera by Richard Wagner about the struggle between sacred and profane love, and redemption through love. This theme in Wagner’s work may also be applied to Deckard and Rachael’s situation. Hitler was very fond of Wagner’s music. The use of German names and motifs in DADES was a result of Dick’s research of Nazi documents and his concepts of Nazi soldiers as dehuman- ized beings that generated the idea of the androids/replicants. German motifs were kept with a different perspective in BR and also in Jeter’s book sequels. 4 Revisiting the Biblical Tradition: Dante, Blake and Milton in Blade Runner 1 . See also Singleton’s translation in prose (Alighieri, 1980, p. 25). 2 . See also Alighieri, 1980, p. 35. 3 . See also Alighieri, 1980, p. 37. 4 . See also Alighieri, 1980, p. 49. 5 . See Warner’s analysis of the silver unicorn as Rachael (1991, p. 179). 6 . The replicants’ revolt is also a Faustian rebellion towards acquiring knowl- edge in their desire to meet their maker, and to find out what constitutes the essence of their lives, so that they may be granted the wisdom of more life. Their struggle to acquire knowledge is another classical intertextual literary reference (from Marlowe, through Goethe, to Thomas Mann). Dr. Eldon Tyrell functions as Dr. Faust himself, in his attempt to gain the knowledge to become the god of biomechanics, who is able to generate life. 191 192 Notes 7 . The name “Salome” alludes both to the biblical figure and to a literary tradi- tion associated with her name (See Benét’s , 1987, pp. 860–1). 8 . In some versions, the word “fucker” was replaced by “father”. 5 Revisiting the Psychoanalytical Tradition 1 . For further references to the eye motif, see “Eye symbolism” in Blade Runner FAQ . 6 Collating the Postmodern 1 . In this chapter, I will be referring to both the Director’s Cut and the U.S. Theatrical Release with the voice-over. For a summary of the other versions, see Chapter 8, and the “Different Faces of Blade Runner – How Many Versions?” in Appendix B of Sammon’s book (1996, pp. 394–408). 2 . Scott drew on the comic book Heavy Metal for the creation of the external scenes of BR . In the interview with Sammon, he declares that his intention was to make a live-action version of this comic book (Sammon, 1996, p. 380). 3 . Hammacher states, “The False Mirror is a deliberate reduction of the natural function of an eye. The remarkable thing is that, like the Byzantine eye, it does not actually look at us, the viewers of the work. This is because Magritte avoids here the eye’s active function – looking – by showing only its reflective function – the reflection in the cornea of the sky and clouds. The reflection in the mirror is passive, dead, but the reflection in the eye penetrates the inte- rior and it is there, inside the eye, that the image comes into being. Magritte had a deep response to a one-line poem by Paul Eluard: ‘Dans les yeux les plus sombres s’enferment les plus claires ’ (In the darkest eyes the brightest eyes have secluded themselves). Magritte was never to forget Eluard’s moving line of verse” (Hammacher, 1985, p. 86). 7 When Differences Fall Apart 1 . Dr. Tyrell may be seen as another Dr. Frankenstein: both create beings and both are cruel towards their own creations – and their creations are persecuted in both cases. Unlike Tyrell, however, Dr. Frankenstein is not killed by his creation. 2 . The word “existentiell” was first used in its philosophical meaning by Martin Heidegger in his work Being and Time . It describes an ontic (physical, real, factual existence) understanding of beings in the world and addresses the facts about things in the context of the world, in terms of their existence. It differs from the ontological (related to the nature of being, becoming, existence , or reality ) understanding. 3 . I am keeping the gender agreement according to the original texts. 4 . The shooting script had a voice-over of Deckard saying, “I knew it on the roof that night. We were brothers, Roy Batty and I!” (Blade Runner FAQ , 1992, p. 27). Notes 193 8 From Conception to Inception: A Never-Ending Story 1 . Other works by Dick were optioned while he was still alive: “We Can Remember It for You Wholesale”, adapted for the screen by Dan O’Bannon as Total Recall (1990) and his 1953 novella “Second Variety”, scripted by O’Bannon, and retitled Screamers (1996). 12 Recycling Media: Blade Runner to Be Continued 1 . For a complete list of the film’s awards and nominations, please refer to http:// en.wikipedia.org/wiki/Blade_Runner. Conclusion 1 . In “The Veldt”, Bradbury creates a similar form of advanced film (without the sexual content of Huxley’s “feelies”) as projections of mental images that produce real-life smells and sounds. The “nursery room”, designed to treat the children’s neurosis, acquires a reality of its own and ends up destroying the parents when they threaten to shut it down, and becomes an “actualization” of imagination and destructive thoughts. Works Cited 12 Monkeys. Dir. Terry Gilliam. Prod. Charles Roven. Screenplay by David Peoples and Janet Peoples, based on La Jetée , by Chris Marker. Perf. Bruce Willis, Madeleine Stowe, and Brad Pitt. USA, Universal Pictures, 1995. 127min. 1492: Conquest of Paradise . Dir. Ridley Scott. Perf. Gérard Depardieu, Sigourney Weaver, and Fernando Rey. France, Spain, UK, Gaumont/Paramount Pictures/ Pathé, 1992. 142 min. 2001: A Space Odyssey . Dir. Stanley Kubrick. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. UK and USA, Metro Goldwin-Mayer/Warner Bros, 1968. 142 min. Alien . Dir. Ridley Scott. Screenplay by Dan O’Bannon, based on a story by Dan O’Bannon and Ronald Shusett. Perf. Tom Skerritt and Sigourney Weaver. UK and USA, 20th Century Fox, 1979. 117 min. Alighieri, Dante. The Divine Comedy: Inferno . Vol. I. Italian text. Trans. and comm. Charles S. Singleton. New Jersey: Princeton UP, 1980. —— . The Inferno . Trans. John Ciardi. New York and Ontario: New American Library, 1982. Anders, Charlie Jane. “Blade Runner Sequel (or Prequel) in Development Now.” io9 . March 3, 2011. January 3, 2014. <http://io9.com/5774950/a-warner- bros+financed-production-company-buying -the-rights-to-do-a-blade-runner- sequel-or-prequel>. Anderton, Ethan. “Alcon Entertainment Offers Harrison Ford Lead in ‘Blade Runner 2’”. Firstshowing.net. May 15, 2014. May 18, 2014. <http://www.firstshowing. net/2014/ alcon-entertainment-offers-harrison-ford-to-lead-blade-runner-2/>. “Android.” American Heritage Dictionary of the English Language. October 25, 2013. <http://ahdictionary.com /word/search.html?q=android>. Amiran, Eyal, and John Unsworth. Essays in Postmodern Culture . New York: Oxford UP, 1993. 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Mast, M. Cohen, and L. Braudy. New York and Oxford: Oxford UP, 1992. Ballard, J. G. Crash . New York: Farrar, Straus & Giroux, 1996. Balme, D. M. “Biological Conceptions in Antiquity,” Dictionary of the History of Ideas: Studies of Selected Pivotal Ideas . Vol. I. Ed. Philip P. Wiener. New York: Charles Scribner’s Sons, 1973. 229–236. Barthelme, Donald. City Life . New York: Farrar, Straus & Giroux, 1970. Barthes, Roland. A Barthes Reader. Ed. Susan Sontag. New York: Hill and Wang, 1982. —— . Mythologies . Trans. Annette Lavers. New York: Hill and Wang, 1987. Battlestar Galactica. Dir. Michael Rymer et al. Perf. Edward James Olmos, Mary McDonnel, Jamie Bamber and others. TV series, 2004–2009. Baudrillard, Jean. Simulacres et simulations . Paris: Éditions Galilée, 1981. —— . Simulations . Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York: Semiotext[e], Columbia University, 1983. —— . Selected Writings . Ed. Mark Poster. Stanford, CA: Stanford UP, 1988. —— . America . Trans. Chris Turner. London and New York: Verso, 1996. Bauman, Zygmunt. “Postmodernity, or Living with Ambivalence.” A Postmodern Reader . Ed. Joseph Natoli and Linda Hutcheon. New York: State of New York UP, 1993. Bazin, André. What Is Cinema? Trans. Timothy Barnard. Montreal: Caboose, 2009. BBC News. “Blade Runner Tops Scientist Poll.” August 26, 2004.
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