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

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Index

1984, 56, 59, 64 163–167, 171, 174, 176, 179–181, 183, 191–193, see also different Abdul Ben-Hassan, 126, 134, 154, 158, versions 160 Blade Runner 2: The Edge of Human, adaptation, 4, 34, 38, 41–44, 46, 48, 166–167, see also K. W. Jeter 52, 99, 128, 130–131, 176, 179, Blade Runner 4: Eye and Talon, 166, 183, 187 174, see also K. W. Jeter All Our Variant Futures, 146, 154, 181, Blade Runner, A Movie, 99, 102, 130, see also different versions 179, see also Burroughs, William All those moments, 52, 77, see also Blade Runner Down, 163, see also lyricism; poetry; Roy Batty sequel Alternate Opening Titles: Tears in Rain, Blade Runner: Replicant Night, 171, see 134, see also Deleted and alternate also K. W. Jeter scenes; different versions Bladerunner, The, 99, see also Nourse, America, a Prophecy, 52, see also Alan Blake, William Blake, William, 4, 52, 59–60, 67–70, Android (script, title), 89, 129, see also 72, 88, 98, 109, 133, see also Blade Runner; Dangerous Days; America, a prophecy Gotham City; Mechanismo Blimp, the, 57, 63–64, 66, 91, 96, 109, Animoid Row, 126, 134, 139, 159, 175 127, 135–136, 149, 156, 169, 175 Anniversary Edition Blue Room, the, 134, 142, 157, see also 25th Anniversary Edition, 153 Bryant 30th Anniversary Collector’s Bradbury building, 83, 97, 118, 138, Edition, 154 142, 172 Ultimate Edition, The, 127 Bradbury, Ray, 128, 185–186, 193 aura, 6–8, 188–189, see also Benjamin, Brave New World, 59, 185–186, see also Walter Huxley, Aldous automaton, 82, 85, 94, 114 Broadcast (Television) Version, the, 121, see also different versions Bakhtin, Mikhail, 6, 13, 36 see also Bryant, 58, 65–66, 97, 105, 133–134, carnivalization; polyphony 136, 142, 146, 149, 151, 157, 159, Benjamin, Walter, 6–8, 14, 89, 181 see 167, 169–170 also aura Burroughs, William, 4, 32, 37, 46, 89, bête machine, 114 99, 102–106, 128, 130, 179, see Bible, the, 20, 60, 69, 72, 114, 202 see also Blade Runner, a movie also Christianity Big Brother, 59, 64, 100, 106, 134, see Cambodian lady, 126, 134 also Orwell, George; surveillance camera eye, 55 Blade Runner, 4–6, 37, 46–47, 49–50, carnivalization, 6, 36, 188, see also 52, 57, 60–62, 64, 68, 77, 82, Bakhtin, Mikhail 89–90, 99, 102, 104–105, 121, Cartesian maxim, 98, 113 123, 125, 130–131, 135–136, Chew, 52, 77, 83, 87, 109, 133, 138, 144–146, 153–155, 160–161, 142, 144, 146, 150, 178

213 214 Index

Christianity, 18, 95, 200, see also Dick, Philip K., 4–5, 31–34, 36–38, Mercerism 40, 42, 46, 52, 89–98, 113–114, cinema and literature, 48, see also 128–131, 145–146, 166–167, literature and film; proto-film 179–181, 191–192, see also Do literature Androids Dream of Electric cinematic novel, 41, 43, 47, see also Sheep? (DADES) literature and film; proto-film different versions, 5, 121, 123, 128, literature 131–132, 145, 153–154, 166, Cityspeak, 65, 109, 131, 136, 142, 181, see also All Our Variant 159–160 Futures; Android (script, title); cloning, 25, 58, 115, 130–131, 162, Anniversary Edition; Deleted and see also ethics (lack of) Alternate Scenes; Director’s Cut, close-up, 40, 42, 53, 58, 74, 134, 136, The; Domestic Cut, The; Enhanced 139, 142, 149, 151 Workprint; Final Cut, The; Sneak collage, 4, 6, 8, 11, 13, 29, 50, 52, 100, Previews; U. S. Theatrical Cut, the; 107, 130–131 Ultimate Edition, The; Workprint, comics, 5, 183, 188 The Commedia, 60–61, see also Dante Director’s Cut, The, 5, 53, 67, 78, 99, continuity problems, 155, see also 121, 123–127, 147, 149, 153, 155, tweaks 157, 159–161, 182, 192, see also cryogenic suspension, 133, 174 different versions cybernetics, 28, 30–31 discontinuity, 16, 29, 40 cyberpunk, 2–4, 30–34, 56, 60, 103, dissemination, 8, 28 108, 123, 182, 187–189, 198 Do Androids Dream of Electric Sheep? cyborg, 31, 99, 115, 182, see also (DADES), 31, 33, 46, 52, 72, 89, automaton; cryogenic suspension; 99, 104, 109, 128, 131, 179–180, cybernetics; cyberpunk; 183, 191, see also Dick, Philip K. man-machine Domestic Cut, The, 117, see also different versions; null Dangerous Days, 89–90, 129, 132, dove (scene), 52–53, 73, 95, 118–119, 145–147, 154, 181, see also 143, 147, 151, 158 different versions; script (film, dystopic (dystopia), 33, 56, 123–124, versions, writers); title (film, 146, 161–162, 186 book) Dante, 4, 59–68, 70–71, 88, 102, see Earth alienation, 170 also Commedia; Inferno, The effacement of differences human/ Debord, Guy, 6, 156 see also society of machine, 5, 8, 184 the spectacle Eldon Tyrell, 167, 170, 178, 191 Deckard, 52–53, 55, 58, 60, 62–67, ending, 1, 5, 59, 66, 99, 116, 122–124, 69–72, 75, 77–78, 82–83, 87–89, 126–127, 129, 131, 143, 146, 150, 91–99, 103–106, 109–110, 155, 161 112–113, 115–120, 122–127, Enhanced Workprint, 126, see also 129–130, 132–143, 146–147, different versions 149–151, 157–160, 164, 167–175, Enlightenment, 11, 19, 22, 24, 74, 88 177, 179, 190–192 Entropy Law, 23–24 deconstruction, 25, 29 epic hero, 60, 189, see also hero Deleted and alternate scenes, 143, see Esper (machine), 104, 134, 138, 142, also different versions 149–150, 159, 175 Index 215 ethics (lack of), 17, 56, 58, 81–82, 88, grand narratives, 34–35, see also 100, 114–115, 162, 183 master narratives; metanarrative Eugenics Law, 101 extra footage, 158, see also Alternate Hades, The, 58, 63, 77, 123, 136, 146, Opening Titles: Tears in Rain; 149, see also Inferno, The Deleted and alternate scenes Heavy Metal, 179, see also comics eye motif, 4, 59, 82, 88, 98, 106, helicab, 101, see also Bladerunner, The; 111–112, 192 Nourse, Alan hero, 60, 70, 158, 189–190, see also Fahrenheit 451, 185–186, see also epic hero Bradbury, Ray hierarchy of genera and species, 114 false memories, 56 history of the film, 5, 121, 128 Fancher, Hampton , 5, 46, 94, 125, Hoffmann, E. T. A., 82, 84, 86–87, 108 128, 133, 145, 151, 154, 179–180, Holden, 62, 71, 80, 94–95, 110, 112, see also Peoples, David 126, 133, 135–136, 141–142, 146, film noir, 32–34, 94 149, 168–171 Final Cut, The, 5, 46, 53, 78, 95, Hunterwasser, 137, 146, see also 121–122, 127, 130, 145–147, Leon 149–151, 153–157, 159–161, 174, Huxley, Aldous, 6, 59, 185, see also 177, 181–182 Brave New World fireballs, 53, 58, 136, 149, 159 hyperreality, 92 Foucault, Michel, 25, 81, 183, see also immanent ubiquitous power; identity, 56, 177 surveillance illustrations (figures), 68, 129 fragmentation, 3, 11, 19–20, 29, 67, image, 1, 6–8, 38–39, 44–45, 47, 81–82, see also postmodern 58, 68–69, 82, 84, 98, 111, 134, French New Novelists, 47 156–158, 162, 168–170, 172–173, Freud, Sigmund, 4, 74, 79–82, 85–87, 185–188, 192 113, 115, 168, see also Uncanny, immanent ubiquitous power, 184 the; Unheimliche, das implant, 56, 112, 160, see also false Future Noir: The Making of Blade memories Runner, 121, 145, 148–149, 181, inception, 5, 8 see also Sammon, Paul M. Inferno, The, 4, 60–67, 70, see also Dante; Hades, The Gaff, 58, 65–67, 78–79, 97, 109, 118, International Cut, The, 122, 155 123, 133, 136–137, 142–143, 157, 159–160, 167, 175, see also K. W. Jeter, 132, 166 Bryant; spinner games, 6, 90 Lacan, Jacques, 4, 29, 80–81, 108, geisha, 57, 96, 134, 158, see also 111–113, see also lettered society of the spectacle unconscious; manque-à-être genre (borderlines, blurring, Late Modernism, 15–16, see also subgenre), 2–4, 14, 26–27, 29–30, modern; modernity; postmodern 32–34, 37, 42, 44, 50–52, 60, 108, Leon, 62, 80, 83, 86–87, 95, 98, 110, 122–123, 130–131, 163, 182, 112–113, 118, 133–134, 137, 142, 187–189 149–150, 157–158, 174 Gotham City, 130, see also title (film, lettered unconscious, 29, see also book) Lacan 216 Index literature and film, 4, 38–39, 45, 50, nouveau roman, 11 103, 188, 190, see also cinema and novelization, 166, see also cinema and literature; cinematic novel literature lyricism, 52–53 Oedipus Rex, 78, see also Sophocles man-machine, 21, 114 Off-World colonies, 57, 63, 91, 149, mannequin (dummies), 117–118, 140, 164, 168–171 142 origami, 66–67, 79, 109, 123, 131, 160 manque-à-être, 108 Orwell, George, 56, 59, 64, 100, 106, master narratives, 35, 189, see also see also 1984 grand narratives; metanarrative otherness, 10, 28, 105, 120 Mayan (architecture, structure, Outer Hollywood studios, 171, pyramid), 53, 55–56, see also 173, 184, see also Blade Runner: pyramidal building Replicant Night; Blade Runner 2: mechanical world view, 3, 21–22 The Edge of Human; Blade Runner Mechanismo, 89, 129, 179, see also title 4: Eye and Talon; K. W. Jeter (film, book) outtake, 126, see also Blade Runner 4: méconnaissance, 111–112, see also Eye and Talon Lacan overpopulation, 57, 103–104, 162 Mercerism, 95 Ozymandias, 133 metafiction, 35–36, 82, see also metanarrative Paradise Lost, 4, 70–71, 73 Metal Hurlant, 130, see also comics; Peoples, David , 46, 130, 145, 151, cyberpunk; Heavy Metal 154, 181, see also Fancher, metanarrative, 3, 34–36, 89, 189, Hampton ; script (film, versions, see also grand narratives; master writers) narratives poetry, 2, 4, 11, 26, 50–52, 59, 68, Metrophage, 103, see also cyberpunk 108, 113, 128, 163, see also Blake, Metropolis, 163, see also title (film, William; Dante; lyricism; Milton, book) John; Ozymandias; Shelley Milton, John, 4, 59–60, 63, 67, 70–73, politique des auteurs, 47 88, 191 pollution, 23, 75, 162 mise-en-scène, 43 polyphony, 36, 163, see also Bakhtin, modern, 2–3, 5, 9–22, 24–25, 27, Mikhail 29–30, 36–37, 41, 43, 70, 81, 88, post-industrial society, 16, 115 90–91, 95, 99, 106–107, 114–115, postmodern, 1–6, 8–19, 24–37, 156, 186, 188–189, 191, see also 52, 56, 59–60, 66, 72, 75, modernity; postmodern 81–82, 88–89, 99–100, 104, modernity, 1, 3, 9–10, 14, 16–17, 19, 107, 119–120, 123, 127–128, 25, 34, 43, 186, 188–189, see also 131, 144, 153, 156, 162, 170, modern 182–183, 185, 187–191, 194–195, more human than human, 77, 173, 198–207, see also fragmentation; see also Eldon Tyrell; Tyrell hyperreality; modern; modernity; Corporation poststructuralism poststructuralism, 29, see also Nexus, 83, 102, 120, 146, 157, 165, see postmodern also replicant pre-cinema, 3, 42, see also proto-film Nourse, Alan , 37, 89, 99, 130, see also literature Bladerunner, The prequel, 5, 163–166, 179–180 Index 217

Pris, 57, 65, 71, 83–84, 90, 98, 104, Scott, Ridley , 4, 37, 41, 47, 49, 52–53, 113, 117–118, 131–132, 138, 142, 56–57, 59, 61–62, 75, 83, 89–90, 146, 150, 160, 168–169 94, 99, 102–107, 109–110, 115, proto-film literature, 42, see also 120, 122–130, 134, 138, 145, pre-cinema 147, 151, 153–155, 161–165, 174, Purefold, 164, see also prequel; sequel 177, 179–183, 192, see also Blade pyramidal building, 55, 71, 141, 167, Runner 176, see also Mayan (architecture, Scrappy, 175, 179, see also Blade structure, pyramid) Runner 4: Eye and Talon; K. W. Jeter Rachael, 53, 60, 63, 65–67, 69, 77, script (film, versions, writers), 6–7, 82–83, 87–88, 93–94, 96–99, 104, 44, 46, 52, 58, 88–89, 94, 102, 106, 109–110, 118, 124, 126–127, 122, 128–134, 151, 158, 163–164, 129, 137, 139–140, 142–143, 146, 166, 174, 178–179, 186–187, 150, 167–168, 170, 172–174, 177, see also Android (script, title); 179, 191 Deleted and alternate scenes; religion, 35, 74, 87, 94–95, see also different versions; extra footage; Mercerism Metropolis; voice-over replicant, 53, 58, 60, 62–64, 67, 71, searchlights, 56, 83, 102, see also 78, 82–83, 87, 94, 108–109, Orwell, George 112–113, 118, 120, 122–123, Sebastian, J. F. , 95, 104 130, 132–134, 137, 142, 149, sequel, 5, 68, 132, 163–166, 174, 179, 151, 158, 160, 164, 167–172, 181, 185, see also prequel 174, 178, 180, see also sixth sexism, 115 replicant (Mary) Shelley, 32, 108, 133, 200, 209, see also reproduction, 1, 6–8, 10, 89, 114, 173, Ozymandias 183, see also Benjamin, Walter simulacrum, 12, 71, 76, 87, 103, 112, rep-symp, 169, 172, see also Blade 115, 172, 174 Runner: Replicant Night; Blade simulation, 25, 56, 92–93 Runner 2: The Edge of Human; sixth replicant (Mary), 132, 151, 158, Blade Runner 4: Eye and Talon; K. 169 W. Jeter skin-job, 98, see also Bryant; sexism retirement, 58, 93, 158 snake, 62–63, 71–73, 93–95, 126, retrofitting, see also postmodern 139–140, 159 recycling, 5–6, 163, 182–183 Snake Pit, The, 151, 158 reverie (unicorn daydream), 123, see Sneak Previews also unicorn Dallas and Denver Sneak Previews, Roy Batty, 52, 54, 65, 129, 132, 150, 124, see also San Diego Sneak 158, 168, 192 Preview San Diego Sneak Preview, 121 Sammon, Paul M. , 34, 46, 52, 56, society of the spectacle, 96, 156, see 89–90, 94, 96, 121–130, 133–134, also Debord, Guy 145–149, 151, 180–181, 192 Soldier, 181, see also prequel; sequel Sandman, The , 4, 82, 88, 108, see also Sophocles, 4, 76–79, see also Oedipus Freud, Sigmund; Hoffmann, E. T. Rex A.; Uncanny, the; Unheimliche, das soundtrack, 11, 40, 42, 53, 61–62, science-fiction (sci-fi), 30, 33–34, 58, 67–68, 98, 127, 135, 145, 147, 89, 99, 102, 108, 115, 122, 127, 154, 180, see also Vangelis 129, 154, 163–165, 167, 181, 187 speciesism, 115 218 Index spinner, 58, 65, 97, 104, 110, Unheimliche, das, 82, 86, see also 136–138, 141–143, 147, Freud, Sigmund; Sandman, The; 149–150, 155, 159, 170, 179 Uncanny, the stream of consciousness, 42 unicorn, 53–54, 66–67, 112, 120, street dancers, 139, 147, 151, 122–124, 126–127, 132, 149, 155, 158 158, 160, 191, see also reverie surveillance, 59, 101–102, 159, 162, (unicorn daydream) see also 1984; Orwell, George Sushi Master, 64 Vangelis, 53, 61, 126, 135, 138, 157, synaesthesia, 11, 52, 61, 68 160, see also soundtrack versions, 89–90, 95, 106, 112, Taffey Lewis, 84, 139, 158 120–123, 127–128, 131–132, 134, Tannhäuser Gate, 52, see also poetry; 138, 141, 143, 145, 147–151, Roy Batty 153–155, 160–162, 166, 180, tears in rain, 52–53, 77, 113, see also 182, 191–192, see also different lyricism; poetry; Roy Batty versions templant, 167–168 vidphone, 97 title (film, book), 23, 26, 30, 49, 57, viewscreen, 100 89–90, 99, 101–102, 104–106, voice-over, 58, 65–66, 97–99, 105, 128–131, 134–135, 144–148, 117, 122–124, 126–127, 136–140, 156, 163, 166, 179, 186, see 142–143, 151, 155, 160, 166, also Android (script, title); Blade 182, 192 Runner; Dangerous Days; Gotham Voight-Kampf (Voigt-Kampf, V-K) City; Mechanismo Machine, 78, 83, 94, 96, 137, 139, Treasure Island, 59, 133, 136 164, 168, 174, 178 tweaks, 155, 157, 162 Tyrell Corporation, 39, 53, 56, 94–95, War Terminus, 91, 93, 190, see also Do 102, 137, 164, 170–171, 173, Androids Dream of Electric Sheep? 176, 184 (DADES) Workprint, The, 5, 121, 125–126, 134, U. S. Theatrical Cut, the, 64, 67, 105, 142, 145, 147, 149, 151, 153–154, 122, 126, 145, 153, 182; see also 159, 161, 181–182, see also different versions; Domestic Cut, different versions The Uncanny, the, 168, see also Freud, Zhora, 62–63, 71–73, 93–96, 118, 133, Sigmund; Unheimliche, das 137, 139–141, 154–155, 158