lightig+miseenscene-bladerunne

Blade Runner is a very interesting film because it doesn’t follow the classic characteristics of the film noir genre, such as a traditional femme fatale, or a plot based around money, lust and deceit. In fact there are no strict elements which make up a film noir, except for the portrayal of the darker side of human nature, a key theme of Blade Runner.

The first shot of the Rachael scene is of the owl - natural, beautiful, almost mystical - there is an illusion that it is and free and beyond human control, when in fact it is limited to the room and has been manufactured. This raises two of many noir concepts addressed within the film: “What is reality?” and “How does our environment affect us?” As it flies across the room we see a central view of the room, showing big stone pillars, a posh, wooden table, and in the background the sun is setting behind some ancient-Egyptian style buildings. The room looks very expensive and upper class but the audience gets an impression for how jumbled up the world is - modern, expensive objects s

As Rachael introduces Tyrrel she walks out of the shot and he takes her place, which is an unusual way of bringing a character into the mise-en-scene. It shows the control that Tyrrel has over Rachael, as she gets talking to Deckard, setting the mood, introduces Tyrrel, and is then withdrawn without even being asked to. Rachael is an underling of Tyrrel and everything about her so far - the formal language, straight face, unemotional mannerisms - has suggested that she is a replicant, although the audience is in some confusion at this point.

Some topics in this essay:
Blade Runner, Deckard Rachael, Tyrrel Rachael, blade runner, deckard rachael, introduces tyrrel, deckard’s equipment, femme fatales, film noir, femme fatale, replicant deckard,