The World-Building of Blade Runner Movie Review

INTRODUCTION In the 1982 science-fiction film Blade Runner, director Ridley Scott takes great care to fashion a detailed, unique dystopian world for the characters to inhabit. The setting is Los Angeles in the (at the time of production) dystopian future of 2019, where corporations rule the world and synthetic humans called replicants have been outlawed. The film follows bounty hunter Rick Deckard (Harrison Ford) as he is tasked to hunt down several replicants who have escaped to Earth. The care taken in the creation of the world of Blade Runner, in combination with the dreamlike, meandering story, creates a visual and cultural futurist’s painting of a realistic dystopia as yet unseen in science fiction. This is combined with deep themes of identity and man’s interaction with technology to create a meaningful and interesting masterpiece of speculative fiction. In this paper, we will analyze the production elements of the film, and how they work to tell this story of robots and human ity in the way that Ridley Scott envisioned. STORYTELLING Blade Runner is told in a very dreamlike way, with a slow, intentional pace, emotionally distant characters, and a simple, allegorical story. Layers of meaning and theme are injected into the forefront of the story through the setting, characters, and plot, creating a distance between the audience and the characters. In this way, the audience is meant to inhabit the world that was created for this film, in lieu of investing heavily in the story. ACTING The nuanced performances of the actors in Blade Runner provide an interesting contrast between the human and replicant characters, and express the characters’ feelings and opinions of the dusky, rainy world of the future. Ford’s Deckard, the protagonist, is as emotionless as you can get with a main character – he is consistently dour, stern, and serious. Throughout the film, Ford carries the weight of the world on his shoulders as Deckard, a divorced loner who is no longer a cop, but a bounty hunter who tracks down replicants. He has no family, no friends, and no connections to other people due to the overcongested and destitute world of the future. In the opening voiceover, Deckard relays that his ex-wife referred to him as â€Å"sushi†¦cold fish.† As being a ‘cold fish’ is analogous with being distant and unfeeling, the audience gets this indication of Deckard’s disconnect from the outside world (Reagle, 1995). The replicants, on the other hand, while also having their serious moments, possess more collective spark and life than the human characters. The leader of the replicants, Roy Batty (Rutger Hauer), displays incredible passion and emotion, as well as malice in his dealings with the other characters. Pris (Daryl Hannah), the most unpredictable and hedonistic character, is a replicant. In fact, the most emotionless replicant found in the film is Rachael (Sean Young), who believes she is human. This stylized difference in performances help to convey the lifeless, cynical world Scott and crew are attempting to create, and the loss of hope and optimism the human characters have. CINEMATOGRAPHY The mise-en-scene of Blade Runner is perhaps its most unique and oft-emulated element; the realization of the future Los Angeles is so complete and detailed that it has served as the basis for many a futurescape in the films following it. Production designer Lawrence G. Paull took influence from many cyberpunk novels, as well as the work of comics such as Heavy Metal, in order to create a homogenized, impoverished yet technologically advanced society that the characters inhabit. In this future, cultures and languages have coalesced, melting the pot of American culture further until half the advertisements and people are Chinese or some variant thereof. Chinese writing is seen throughout the literature and signage of the film, and many of the shopkeepers in the markets that Deckard frequents are Oriental. The city of Los Angeles is almost a character in and of itself; its mood and atmosphere permeate every frame of the film. Every square inch of the place is covered in smoke, dust, ra in and grime; it never seems to stop raining in the film, an intentional choice by the filmmakers to accentuate the bleakness of the world. Throughout this destitute slum of a city, bright neon signs and floating video screens dominate the landscape (some even taking up the sides of entire skyscrapers). Cinematographer Jordan Cronenweth uses low-key lighting in the majority of the shots, as the world is presented in a perpetual state of darkness. Film noir-style use of light and shadow helps to bring about the feeling of destitution and dystopia this future world presents – light often comes in through tight, focused beams through blinds, or as harsh overhead neon lights of the rampant advertisements in the city streets. Shots are often framed quite wide, seeing a great deal of the character’s body, as if to further cement our distance from the characters. However, during deep moments, such as the many moments of contemplation Deckard experiences, and Roy’s final monologue to him after their fight, extreme close-ups are used to bring the audience closer to the characters. The use of color in the cinematography also tells the audience about the sociopolitical landscape of the world of Blade Runner. With some notable exceptions (the polarized sunlight outside Terrell’s window), color is extremely desaturated, with blues, grays and greens dominating the environment. Neons are presented brightly, however, in direct contrast to the grimy city streets, as if to cement corporate and commercial influence over the beleaguered populace. On the other hand, the golden pyramid buildings of the Tyrell Corporation, which loom over the rest of the dark, shrouded city, are often bathed in golden sunlight, with bright lights shining from their tops. This color and lighting scheme informs the audience that they rule the roost in Los Angeles, if not the country or the world. The harsh, grimy and neon-striped metropolis surrounding it is poor and without hope. EDITING The editing of Blade Runner by Marsha Nakashima is slow and contemplative, leading to a slow pace and a relatively long length of shot. The opening shot of the movie fades slowly into an extremely lengthy establishing shot of the Los Angeles cityscape, lingering over it for nearly half a minute. This establishes the intentionally glacial pace of the rest of the film; each shot is given time to breathe, and scenes are often edited with as few cuts as possible, if any. Throughout the film, coverage is used sparingly, as each shot is artistically chosen, the editing reflecting the painterly style of the shots. There are few fades, and what few fades occur are important for establishing of the mood, such as the aforementioned opening shot. Cross-cutting is often used to compare characters and their respective journeys. During the final showdown between Deckard and Roy, one particular lull where they are separated shows how they heal themselves and prepare for their continuing fight Deckard resetting broken fingers, Roy injuring himself with a stigmatic nail through his palm in a ritualistic manner. The latter is often thought to represent a Christlike depiction of Roy, and perhaps Deckard (Reagle, 1995). Slow motion is used in varying but significant instances, most typically in the deaths of the replicants. When Zhora is killed while running from Deckard, she crashes through several panes of glass, surrounded by mannequins, all in slow motion as Deckard continues to shoot. The moment of death for Pris (the second shot Deckard fires at her) is also represented in slow motion, a harsh contrast to the frenetic, epileptic flailing the injured replicant does when she is first shot. At the end of the film’s climax, with a dying Roy Batty talking about ‘tears in rain,’ the film slows down as Roy lowers his head and remains motionless, implying his death. SOUND A vibrant soundscape was created for Blade Runner by sound editor Peter Pennell in order to create a meld of contemporary and futuristic sounds for the vehicles and weapons in the film. The buzz of the spinners as they fly through the landscape, as well as the boom of Deckard’s gun when it fires (particularly during the ‘retirement’ of Zhora) are at times both familiar and alien, a certain hollow tinnyness to them making them feel less than real, and yet strangely futuristic and grounded. At the same time, the deliberate removal of sound effects is used intentionally to emphasize certain scenes. The retirement of Zhora, for instance, features no sound during the slow-motion sequence of her running through the glass panes, all but the sound of Deckard’s gun. This accentuates the brutality of what Deckard is doing to Zhora, who merely wanted to survive. The musical score, by composer Vangelis, is completely synthesized, permeating the film throughout purely as a mood-setter. The music is always low-tempo and consists of long series of tones being played, with melodies that convey mystery, drifting, and discovery, all things that Deckard experiences throughout the course of the film. However, the synthesized nature of the notes always makes the music sound alien and futuristic, but in a nuanced, jazz-like way. The only music by actual instruments is heard in one scene in Deckard’s home, where Rachael plays a few notes on the piano. This is meant to display her desperation to hold on to some semblance of humanity, particularly as she had killed the replicant Leon to save Deckard’s life in the previous scene. STYLE/DIRECTING This is the third film by director Ridley Scott, who had directed the science fiction horror film Alien in 1979 prior to this. That movie, like this one, also presented a grim and down-to-earth view of science fiction, as the setting of the movie was a broken-down space hauler occupied by the equivalent of blue-collar astronauts. This refusal to adhere to shiny metal and clean, curved shapes, like the science fiction of the 1950s and 1960s, helped to pioneer, along with Star Wars, the aesthetic of a gritty, worn-out future. It is clear that Scott wanted to ground science fiction, taking it out of the realm of the fantastical and offer a more conceivable vision of a possible future for our real world. SOCIETAL IMPACT Blade Runner, like many science fiction films, presents a measure of escapism, as you are drawn into the detailed fictional world of futuristic Los Angeles. You are meant to be drawn completely into this other world, which is why so much care and attention to detail was taken in the production design. Oddly enough, it is the touch of realism in the production design and worldbuilding that allows an audience to invest more of their attention in the film – much of the city and technology feel like natural progressions from everyday modern technology. In the theatrical cut of Blade Runner, Deckard provides narration to several points in the film, though they are purely to convey exposition of the main concepts the audience is expected to understand (Deckard’s thoughts and feelings, the definition of replicants, etc.) In subsequent cuts, this narration was removed, as it was inserted at the time at the insistence of the studio, who wanted the nuances of the story explained to the audience. Therefore, the narration could be considered an unnecessary part of the film, since the same points Deckard raises are conveyed (though more subtly) by the direction and performances of the characters. The issues raised in the film are almost purely societal and metaphysical, including the nature of identity, and the search for purpose in life (as portrayed by Roy’s eventful, but short span, and his quest for more time), tying in with the assertion that â€Å"movies have something to say often beyond their literal meaning† (Goodykoontz, Section 9.1). However, there is also an element of criticism toward corporations and capitalist society present in the film, evidenced by the rampant, domineering corporate advertisements and billboards that dominate the sky and the street. It is implied that the corporate culture rules everything, and that is what has led to the dystopian future presented in the film, as well as the persecution of the replicants, who were only created to be slaves, despite being fully realized, sentient beings. GENRE Blade Runner is, first and foremost, a science fiction film. Though there are elements of an action-adventure film, its style most closely resembles film noir, as it features a world-weary detective character, a pervasive feeling of dread or despair, and use of low lighting with plenty of shadow. Science fiction tends to explore the human condition and social issues through fantastical elements that make the conversation more palatable to an audience. The science fiction elements are central to the story, as it uses the concept of artificial beings who look just like humans to explore the nature of what it means to be human in the first place. Deckard’s and Rachael’s questions and doubts of their humanity are reflected by the desire for survival presented by the replicants. CONCLUSION The use of the varying elements of film production in the movie Blade Runner all coalesce to create a unique, interesting and lyrical film that speaks to human issues of identity and the frailty of life. The mise-en-scene, the sound, music and editing all coalesce to form an organic, living world for the characters to inhabit, and for the audience to believe could potentially happen in the future. The movie itself becomes more about this world than the primary plot, as Deckard and the replicants attempt to find their own sense of self and identity in a world that has been overrun with pollution, corporate oversight, and black market dealings. Ridley Scott sought to tell a very presentational story that would be conveyed through mood and atmosphere, and in this instance he succeeded with aplomb. References Goodykoontz, B., and Jacobs, C. (2011) Film: From Watching to Seeing. Reagle, J. (n.d.). The Parting of the Mist: An Analysis of Blade Runner. Joseph Reagle: Introduction. Retrieved May 6, 2011, from http://reagle.org/joseph/1996/film/blade-runner.html Scott, R. (Director). (1982). Blade Runner: The Final Cut [Blu-ray] [Motion picture]. United States: Warner Home Video.

Career Plan For A Career Development - 1706 Words

There exists numerous peer reviewed studies, articles, and even books that serve as a tutorial in coaching and teaching people how to become and remain successful leaders. This is equate to putting the cart before the horse, as students need to first plan on having a successful career before planning on extending their vocation into a formal leadership role in their organization. Hansen and Tovar (2013) suggested that career development, and subsequently becoming a good leader, is a lifelong process that requires the motivation to continue to grow by taking a methodical approach into their daily study and work habits. Fortunately some modern academic institutions are projecting into the future in mandating their student’s curriculum to include career planning. For the vast majority of the population, their journey into academia is brief when compared to the length of their careers. This also applies to highly educated professionals such as doctors and lawyers. The CSU-Glo bal campus offers a resource referred to as the Career Center. CSU-Global Career Center CSU-Global offers an array of services within the Career Center in assisting undergraduate students preparing to enter the workforce, moving laterally into a more desirable organization, or even articles and tips on how to land a promotion. These resources will undoubtedly assist a large target audience of students in helping them to achieve their goals. There are five main modules which branch out into moreShow MoreRelatedCareer Plan For A Career Development Plan1228 Words   |  5 Pages Career Development Plan Vivian Morgan A career development plan will help you improve or maintain your current level of success and prepare for future opportunities. The career development plan will aid in enhancing my personal growth and heighten my career development. Goals or plans give you the push to move forward in life and to seek better skills that lead to top jobs and positions. 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International Pay Systems Free Essays

The Human Resource department must be able to work closely with the foreign country in order to understand the customs and preferences of the locals while complying and enforcing privacy, copyright, and Intellectual property laws. They must also take Into account the cultural differences of the workers and customers and work to bridge the gaps with management and other transplanted American workers. By taking account of the legal Issues that are Involved In international business venture and being able to Incorporate the customs and prefers of the country will help Ordain Manufacturing meet their goals in expanding their market and sales in a global economy (University of Phoenix, 2010). We will write a custom essay sample on International Pay Systems or any similar topic only for you Order Now The Case of Robert Lord Local taxation and living costs must be considered, along with the gross salary of the senior managers. Senior mangers typically earn a higher gross salary than that off lower ranked employee in many countries including Japan. Once the local taxation and cost of living are taken into account, it is estimated that the United States employee is compensated well than that of his Japanese counterpart. If Robert Lord was sent to Japan on the domestic terms, his buying power is reduced greatly although the gross salary would be higher. The expendable Incomes need to be adjusted to meet the differences In the cost of living. In doing this the expatriate Is assured of the same appending power in the host country as here in the United States. Several allowances and or incentives could also be added to the host country The united States is one of the few countries to impose tax on income portion. Earned on foreign soil, although many of the companies will bear this additional tax burden. This is called tax equalization agreement in which the employee is reimbursed by the employer for the extra amount incurred by the expatriate. Most often a company will withhold a set tax from each payroll payment to the employee, eased on a projected tax Incurred by that nations salary, and at the end of the tax year, after the exact amount of tax is calculated, the employee or employer must reimburse the other for over/under payment. US companies find themselves at a disadvantage with these tax-equalization pay systems, and many companies are trying to fill their senior management positions with local hires (ace International, 2010). One of the defining reasons for a government’s tendency to enact protective measures to counterbalance the effects of markets are the insufficient welfare yester and Japan’s existing social contract, which does not tolerate uncertainty and social suffering. At the very basic level a social contract is a covenant to the Japanese culture. It is not codified by which the society and the state are constituted. It addresses the areas such as how many services the government has to provide in return for its right in reducing citizen’s incomes. This could be done through high taxes and or high prices. The differences are reflected significantly in the basic societal assumptions and preferences as well as the political and economic struggles. Countries will differ in how they craft this social contract over the course of history. A social contract will evolve over time and become inclusive of that country’s leading interests as well as their norms and values, and it is extremely difficult to change either incrementally or radically (Olson, 1982). Changes in a covenant require that there be changes in the fundamental values within Japanese society. Since the recession has continued to loom large globally the Japanese people seem to be more concerned with the existing values which would include stability, security and retainer. Japan is certainly not the only country where existing social contract has created barriers to the changes that are needed to transition successful to a post- industrial society. As an example, many in United States are unhappy with a system that in spite of the countries significant wealthy, more than 40 million people are working without health insurance (Olson, 1982). The Role of the Social Contract on Compensation Systems Internationally Human Capital is the most valuable resource that a company has and companies must treat their employees with dignity, aspect, and not to allowable them on compensation Just to make a greater profit for themselves. The 20th century corporate models in the past and still exist today are based on the financial capital as being the dominate source of competitive advantage. Corporations were viewed as solely instruments for maximizing the wealth of its financial investments. Corporations today need to adopt new strategies within their employment practices which will build and sustain the trust and commitment of its human and financial investors and to be able to return fair value to both stakeholders. Those who participate in managing the company need to be held accountable for creating and investing for a future that is sustainable. This would imply that all groups should have a voice in regards to the accountability of the company’s board members and other governance bodies (Cocoon ; Sultan, 2007). The Equity in Compensation between Expatriate and Nationals within the Same Country Critical issues regarding compensation focus exclusively on the home country nation expatriates. These issues revolve around negotiations which if there are too many premiums and inventive you will create an international tamped and unrest in the domestic pay system. On the other hand too few incentives given and you will influence people not to risk foreign assignment (Engle, 2007). Issues brought to light by trial and error, or the components and adjustments to domestic pay which comprise the company’s balance sheets. This so called stumbling to a â€Å"balance sheet† approach has comprised much of the case-oriented options, suitable housing, education of the expatriates children, and other incentives needs to be facilitated by consulting firms, in which a pattern can be developed to have a standardized balance sheet approach (Brioche, 1995). In doing this the company is able to adjust to the intention environment, but by relying on their own domestic terms. The Effect of Trade Unions and Employee Involvement in Compensation Systems for Cross Border Organizations They forces that are affecting today’s trends in the international and domestic markets must be carefully analyzed so to be better equip for the needs of tomorrow. Understanding how employee compensations will be determined and what the consequences will have by using different approaches is important. The ways by which employees are compensated affect their financial and emotional well being. Directly impacting the company’s effectiveness and the talents of the nation’s human resources is compensation. Finally, the way in which employees are compensated gives credence to society’s sense of social Justice. A trend that is affecting tomorrow’s compensation is shifting away from responding to negotiated or benchmarking patterns to a completive positioning stand. One of the most important relations is that between management, employees and trade union representatives. The central role of the nation unions combined with single nation orientation will sometimes slow or even top the development of an international union bargain capability (Engel, 2007). Compare and Contrast Pay Systems across Countries No matter in which country you reside pay is a status symbol within the organizations and also society. Societies that are less complex in nature the status of an individual may be the product of many standards in which Judgment is past; for example, the individuals family, friend, education, occupation, religious or political affiliations. In a more mobile society such as the United States, many of these same standards are harder to measure and are not near as important. Income as a symbol of stature does not present this problem (Atchison, Belcher ; Thomson, 2004). Organizations create statues within the structuring of the Jobs and the compensation that is associated with that position. By placing coworkers in a status structure of the organization according to how much they are compensated is quite commonplace. Since pay is a universal measure of status, it is easy to understand that differentials in pay can be significant. Across cultural boundaries this is the one constant in relation to pay systems. This symbolic significance adds another dimension the importance of compensation to individuals (Atchison, Belcher, ; Thomson, 2004). These same values are seen not only within organizations but in society as well. Organization is influenced by what the norm is across industry standards regarding pay. Outside forces vary in their influence with the type of people who are hired, their loyalty or attachment to the company and the similarity of the organization Jobs to those found elsewhere. Outside influences can be minimized if the company is able to create unique Jobs, which only entry level positions are hired for beyond the company’s walls. Customary relationships that are Just as conservative soon arise inside the organization and groups within will begin to struggle for status and pay which will bring the same type of powerful forces as the same as outside forces (Atchison, Belcher, Thomson, 2004). The Effect of Trade Unions and Employee conducted exclusively at the company level and no mechanisms for the extension of agreement beyond the signatories, bargaining coverage exactly matches union density (rebound, 2005). How to cite International Pay Systems, Papers

Role and Possibility of Creativity in Strategy Work Free Sample

Questions: 1.Discuss the Role and Possibility of Creativity in Strategy Work. 2.Outline How Strategic Managers can Combine Exploitation with Exploration. 3.Highlight how, from your Own Experience, such a Mix between Efficiency Increases and Innovation can be Established, and How Legitimacy Can be gained from Key Stakeholders. Answers: 1.Role and possibility of creativity in strategy work Creativity can be recognized as rectifying the issues. Creation is said to be aim-based and is deeply concentrated about results and fixing of issues and lead to the growth and production. By applying his/her goals and actions, a creative person can use his creative concepts to eliminate obstacle, which can spoil their development(Ben Eastaugh. 2010). The impact of creative items as well as the services not only influences the fresh industries growth as well as new employments, leading in to make fresh concepts, which completely alters existing industrial regulations. 2.Strategic managers can combine exploitation with exploration In this section, variances of firms aspects are discussed that totally depends upon the managers capability of exploitation and exploration activities (Alvarez, H.L., 2006). Generally, the reviews totally differ regarding the any particular organizational aspect, which they recognized, describes the literature can significantly assist through a theoretical discussion regarding what kind of aspects to be comprised or eliminate in an evaluation regarding the influence of organizational aspects on Managers exploitation and exploration activities. 3.Establishment of efficiency increase and innovation and gaining in legitimacy of key stakeholders In carrying out the successful strategized operations of the organization, innovation not constantly engage advancing fresh items or services; rather it can also concentrate on growing the efficiency of the existing processes like gaining legitimacy for the stakeholders(Nowell, B. (2009) . After the recognition of external and internal means, a new organization can attain legitimacy for stakeholders and get assisted by proposing different types of legitimizing action. References: Alvarez, H.L., 2006. Distributed Collaborative Learning Communities Enabled by Information Communication Technology. Nowell, B. (2009). Profiling capacity for coordination and systems change: The relative contribution of stakeholder relationships in inter-organizational collaborative. American Journal of Community Psychology.