Module A Assessment Task

Society refers to the functional co-existence of individuals, encompassing their collective beliefs, thoughts and actions. In this way it can be seen that an individual and society are not distinct of each other, but are rather engaged in a mutually dependent relationship. A comparative analysis of Mary Shelleys 1818 post-industrial epistolary novel Frankenstein and Ridley Scotts 1982 post-modern science fiction film Blade Runner, brings light upon similar social critiques presented within both texts, influencing individuals across varying contextual backdrops to consequently question their own relationship with their society. The common literary themes existent within these contextually disparate worlds remind individuals of their inherent responsibility to maintain ethical practices, in order to preserve the element of humanity within their society. Audiences of both contexts are provided an opportunity to explore their own relationship with their society by viewing the agreeing commentary that both Frankenstein and Blade Runner present in their themes of moral obligation and dehumanisation. Mary Shelley advocates the innate moral responsibility common to all individuals through the character of Victor in Frankenstein, influencing individuals of the Romantic era to consider future impacts of their actions on society. Contextually, the Romantic movement emerged as an opposing force to rigid social constructs of the Enlightenment, and is typified through Victors ambitious attitude and disrespect for the ethical guidelines common to all humans. Before giving life to his creation, Victor recalls It was on a dreary night of November, that I beheld the accomplishment of my toils. Gothic elements of melancholic visual imagery foreshadow the significant social repercussions that will be brought on by Victors disregard of the duty to consider the ethics of his actions. Victor goes on to exemplify his irresponsibility when he states, Unable to endure the aspect of the being I had created, I quickly rushed out of the room. Shelleys diction in quickly emphasises Victors cowardice in failing to confront his creation and is symbolic of the self-interest Shelley saw typical of Romantics. This is further reflective of her concern that individuals, adoptive of lax dispositions and unwilling to uphold their ethical duty as parents, would later degrade the moral integrity of society. The form of Frankenstein as an epistolary novel further proves effective in unveiling the consequences of an individuals irresponsibility on others. Victors Creation laments his misplacement within society, as he wonders Was I a monster from which all men fled and whom all men disowned? The Creations rhetorical question conveys the dysfunctional relationship he shares with society, and is indicative of Shelleys idea that one individuals choice to act immorally will seep into societys collective attitude. In turn, this invokes apprehension within a Romantic reader as it becomes obvious that the burden of maintaining societys moral framework lies with the individual. Thus, the rebellious actions of individuals, such as those typical of the Romantic era, are communicated to have wide-reaching negative implications on the moral fibre of society, contributing to a weakened relationship between an individual and their society. In the same vein as Frankenstein, Ridley Scotts sci-fi film Blade Runner cautions viewers of the societal turmoil that arises when ethical values required by individuals are not upheld, albeit within the context of a society facing rapidly increasing technological progress and economic liberalisation. Scotts extreme longshots of a decaying Los Angeles metropolitan carry a sense of urgency that warns viewers of the reckless impacts of globalisation, and presents the idea that commercialism was adopted without any consideration of its future implications. The use of colourful advertising billboards juxtaposed against the drab homogeny of individuals justifies Ridley Scotts decision to utilize film as the medium of communication, so as to visually represent the direct effect that the collective apathy of individuals has on society. Scott argues that failure to meet ethical obligations as individuals will consequently remove the incentive to maintain a stable and progressive society. Scott implies that this allows for corporate control to take place and the subsequent formation of a dystopian society to occur. The role of greed in surpassing moral responsibility and emotion is explored in Tyrells cold and detached attitudes toward the acquirement of money, in his maxim Commerce is our goal here at Tyrell Corp. This parallels Victors obsessions with obtaining knowledge and works in conjunction to solidify the notion that, under all circumstances, individuals should not lose sight of what is right and wrong for the preservation of a functional society. Scotts viewpoint is made concrete through Biblical allusions threaded through Blade Runner, such as Tyrells metaphoric implication in

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calling Roy his prodigal son. This simplifies issues of moral obligation for modern day viewers by drawing upon elements of a widely established and influential text, and hence aids Scott in commenting on issues of social degradation through an individuals disregard for ethics. Conversely, Mary Shelley provides a commentary on the relationship between the individual and their society through her text, Frankenstein, by also exploring the dehumanizing effects an ambition driven society may have on a person. The epistolary form of Frankenstein fabricates stories embedded within another that carry a unified commentary, as the audience witnesses the mirrored progression of both Victor and his Creation from lively and empathetic beings to dehumanized shells of their former selves. During his awakening moments, the Creation explores his capacity for emotion, as he recounts I found a fireI was overcome with joy at the warmth I experienced. The tactile imagery used to describe the fire is symbolic of the hopefulness of individuals during the turn of the 19th century. This is in a stark contrast to what is felt simultaneously by Victor, who has receded to feelings of anxiety and paranoia, as he is Disturbed by the wildest dreams. This signifies that Victor has realized the short sighted and imprudent nature of his previous actions, which were only concerned with advancement for the sake of his self-gratification. The ultimate implication of this is the Creations rejection from society, as he reflects upon being attacked by the De Lacy family; If I cannot inspire love, I will cause fear. The Creations denunciation of moral conventions symbolically criticizes the emphasis that Romantics placed on the aesthetic, as opposed to the metaphysical and explores how individuals adopting this perspective would lead to an intolerant society. Deliberately manufactured by Shelley, these de-characterizations create a microcosm of the early 19th century; a period that Shelley saw as plagued by the unchecked acceptance of the Industrial Revolution. The deterioration of both Victor and his Creation allude to Shelleys fear that the Romantic idea of ambition would coalesce with industry driven pursuits fabricated during the Industrial Revolution, and inevitably demoralize societys constituent individuals. Thus, Shelley provides a critique on the growing tendency of society to find value in the superficial, and further communicates that a widespread acceptance of the Industrial Revolution will deform the emotional integrity of all individuals. Similarly, Blade Runner extends the concept of individual dehumanization as a product of social influence to the modern era, by presenting a future world where all humans have become devoid of emotion. Ridley Scott introduces the idea of a Replicant in Blade Runner an artificial humans mass-produced for slave labour. Early in the film, the usage of a Voight-Kampff test designed to Evoke an emotional response from subjects, alludes to the fact that Replicants are manufactured to lack the fundamental human qualities of emotion and empathy. The cinematography of Blade Runner starkly contrasts this assertion however, unveiling the irony within it. Upon Rachels discovery that she is a Replicant, a close-up of her teary eyed face quickly cuts away to linger on Deckards expressionless reaction. The juxtaposition within this shot supports the notion that Deckards compliancy with the social convention of retiring disobedient Replicants has stripped him of his human qualities. This further provokes thought within a modern viewer, challenging them to consider whether they have lost an element of their humanity by blindly accepting social norms within their own context. Contrary to Frankenstein, however, the instances of social demoralization in Blade Runner are extended past singular examples, dealing with societys influences on individuals on a macroscopic level as a means to illustrate the dystopian effects of consumerism. A panning shot of an urban street depicts individuals pacing uniformly with identical umbrellas early in the film, metaphorically denoting the mechanical nature of modern individuals and representing the loss of individuality as a result of their embracement of commercial conditioning. Hence, Blade Runner comments on the consequences that individuals face when collective social values become obscured, inevitably leading to a loss of the element of humanity. In summation, although the context and form of Frankenstein and Blade Runner differ in nature, both texts are inextricably linked by the commentary they provide on the relationship between an individual and their society. Fundamental human concerns such as the failure to meet innate moral obligation as an individual, and the existentially jarring concept of losing our humanity

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through social conformity are embodied within the core of each text. The persistence of these very issues across varying contexts ultimately leads to the conclusion that an individual and their society share an intricate relationship that transcends the passage of time.