Why Blade Runner 2049 feels particularly relevant… | Little White Lies

Why Blade Run­ner 2049 feels par­tic­u­lar­ly rel­e­vant in 2017

24 Sep 2017

Words by Anastasia Miari

Portrait of a woman with blonde hair in neon purple lighting, pointing in the air while a man stands in the background.
Portrait of a woman with blonde hair in neon purple lighting, pointing in the air while a man stands in the background.
Denis Villeneuve’s hot­ly-antic­i­pat­ed sequel arrives a time of height­ened cul­tur­al anx­i­ety in the West.

Made and released in the era of Rea­gan­ism, Rid­ley Scott’s Blade Run­ner is a man­i­fes­ta­tion of the var­i­ous cul­tur­al anx­i­eties that plagued West­ern soci­ety at the time. Genet­ic engi­neer­ing, cos­met­ic surgery, the fast dis­tri­b­u­tion of media and the race with the East to devel­op tech­nol­o­gy and remain a glob­al super-pow­er’ are the anx­i­eties that soaked into Scott’s dystopi­an vision of Los Ange­les in 2019.

In the trail­er for Blade Run­ner 2049, Ryan Gosling is briefly glimpsed walk­ing through a rain-bat­tered sea of umbrel­las and flash­ing neon signs which evoke the orig­i­nal film’s dis­tinct visu­al style. Scott’s LA is a pol­lut­ed, dark, dingy, weath­er-beat­en Chi­na Town dom­i­nat­ed by soar­ing sky scrap­ers and mov­ing bill­boards fea­tur­ing flash­ing neon drag­ons and Chi­nese sym­bols. The atmos­phere is so dark and pol­lut­ed, even the umbrel­las are equipped with neon lights. The 1980s was arguably the first era to recog­nise envi­ron­men­tal con­cerns on a glob­al scale, but has all that much changed since Blade Runner’s ini­tial release?

Much like the envi­ron­ment, the polit­i­cal cli­mate in the US today looks a lot like it did three decades ago. Don­ald Trump’s pol­i­tics have been likened to Reagan’s, and America’s rela­tion­ship with Chi­na and North Korea are still fraught with ten­sion. In Scott’s film, the pre­dom­i­nance of East­ern iconog­ra­phy in Blade Run­ner hints at what Amer­i­can cul­ture might one day look like if tech­no­log­i­cal advance­ments in the East aren’t matched by those in the West. The per­va­sive adver­tis­ing that dom­i­nates LA in Blade Run­ner also reflect­ed a grow­ing con­cern in the devel­op­ment of telecom­mu­ni­ca­tion tech­nol­o­gy and the way that peo­ple were being mar­ket­ed to in the 1980s. The Coca-Cola logo is seen pro­ject­ed onto the side of tow­er­ing struc­tures on more than one occa­sion in the film.

Dystopian cityscape with towering buildings silhouetted against an orange sky, a destroyed bridge, and a futuristic vehicle in the foreground.

That par­tic­u­lar cor­po­ra­tion gained such promi­nence in the decade that it acquired Colum­bia Pic­tures in 1982, and the brand was so aggres­sive­ly and wide­ly mar­ket­ed that more coke was sold in Japan than in the US. The impact of the Coca-Cola Com­pa­ny at the time was fur­ther evi­dence of technology’s abil­i­ty to speed up cul­tur­al assim­i­la­tion. This exam­ple of unmedi­at­ed adver­tis­ing on tele­vi­sion screens now pales in com­par­i­son to our ad-clut­tered social media feeds, which drip-feed ideas of what we should be buy­ing and who we should be in a nev­er-end­ing cycle.

Nev­er has Blade Runner’s theme of the threat of tech­no­log­i­cal advance­ment seemed more rel­e­vant than in 2017s tech-fuelled soci­ety. The film’s sharp-wit­ted repli­cants are no dif­fer­ent from the auto­mat­ed machines that have dra­mat­i­cal­ly reduced the need for an indus­tri­al human work­force. More­over, the exis­tence of repli­cants in Blade Run­ner hint­ed at the devel­op­ments in genet­ic engi­neer­ing and gene splic­ing that first became pos­si­ble in the 80s. This was the first time that human beings realised the extent to which they could alter the course of their own evo­lu­tion through Arti­fi­cial Intel­li­gence, just as The Tyrell Cor­po­ra­tion did by pro­duc­ing repli­cants designed to car­ry out spe­cif­ic tasks.

The orig­i­nal Blade Run­ner raised com­pelling exis­ten­tial ques­tion at a time when the first test tube babies came into being. The appre­hen­sion that genet­ic engi­neer­ing is a trans­gres­sion of the laws of evo­lu­tion that weighs even heav­ier today. How much should we med­dle with the nat­ur­al course of things? It’s a ques­tion Denis Vil­leneuve will sure­ly explore fur­ther in Blade Run­ner 2049.

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