Through the movie Blade Runner (1982), the concept of humanity is explored
"Blade Runner is a science fiction film that intertwines elements of film noir within its narrative. Considered a subgenre of sci-fi, it aligns closely with the cyberpunk aesthetic, evident through its storytelling and spatial depictions. Cyberpunk depicts a world where science and technology have advanced significantly yet juxtaposed with low living conditions. The film vividly portrays this cyberpunk ambiance, featuring advanced technology alongside lifelike robots juxtaposed with traces of low living standards in the streets. The setting seemingly eliminates concepts like religion, race, and nationality, best exemplified by the predominantly East Asian populace on the streets. The film portrays prevailing issues as the core problem of humanity within a singular ideology and lifestyle.
Deckard, the protagonist of Blade Runner, follows a narrative reminiscent of the detective genre. Tasked with finding and terminating Nexus-6 robots, which eventually rebel against their creators, Deckard faces robots closely resembling humans, including implanted memories. As these self-aware robots seek freedom, they also grapple with the desire to overcome the dilemma of mortality.
The Tyrell Corporation, aiming to alter the world and transition humanity to another level, symbolizes the current state of humanity. After technological advancements render the world inhospitable, the pursuit shifts to finding new worlds, symbolizing the direction human life has taken. Deckard, through his journey, confronts existential doubts, nearing the edges of his own humanity. While having the opportunity to kill Deckard, the self-aware robot refrains, portraying a semblance of compassion akin to a dove's metaphor. Perhaps the created robot has attained a more humane dimension than humans themselves. The desire to understand death and the longing for knowledge are the central motives behind the robots' desire to return to Earth.
Despite being flawlessly designed, the robots carry human-like characteristics. The philosophical curiosity and significance of death lie at the heart of the film. One of the film's philosophical aspects revolves around mankind's eternal struggle with death, a point of vulnerability and weakness. Nexus-6 models, assumed to be perfect, actually embody human flaws, with death anxiety and the thought of annihilation constituting the film's essence. Despite their production, the robots' response to their creation is opting for oblivion as a retort to humanity.
The film remains a product of classic storytelling. Although the progression might seem monotonous and unbearable, the director's audacious touches elevate the film. Batty's decision not to kill Deckard exemplifies this. Additionally, the film incorporates music reminiscent of East Asian and Middle Eastern melodies, contributing to the portrayal of a global human community. Moreover, it suggests a connection with Eastern philosophy. The film score, designed mystically, evokes emotions during crucial scenes, aiming to evoke a viewer's emotional state.
Batty, in his quest, seeks to confront his creator. Upon finding him, he addresses him as 'father' before killing him. This implies a psychoanalytic foundation within the film. Humans seek to know their origins throughout their lives, often termed as the search for God. From a psychoanalytical perspective, the created robot searches for a father figure, highlighting the absence felt despite their struggle with facing death or the concept of non-existence. Batty killing his creator, Tyrell, somewhat recalls the Oedipus complex.
Examining the film's cinematic language, it doesn't transcend beyond classical cinema aesthetics. The use of dialogue, color palettes, non-straining narrative structure, and music aiding character identification are indicators of classic cinema aesthetics. The narrative progression without overwhelming complexities or solutions crafted by the director defines the film as a classic piece.
What is humanity? A being ceaselessly seeking itself, sometimes believing it has found itself but disrupting its own essence. How correct is it for humans to create a perfect being and bestow it with human traits? Even if humans create a perfect being, why attempt to instill human qualities in it? Is humanity perfect or imperfect? In a world teeming with countless life forms, why does humanity selfishly behave as if it is the only existence? Instead of confronting their fears and shortcomings, why try to create something new? Why the pursuit of perfection?
Regardless, wherever humanity exists, answers to these questions will be sought. Has the director pondered over these questions? Or sought answers within himself? Unknown. Here, it falls on the audience's shoulders to self-reflect through the film, to detach from the constructed fictional world, to perceive the significant problems existing within life, and to confront those issues. To what extent does the film accomplish this? Or how much does it guide the audience on that path? What distinguishes this film from classic cinema products that attempt to address certain problems but fail systematically, repeatedly crafting a world where outcomes are predetermined? Yes, the director is human too, but how human?"
