Ridley Scott's postmodernist film "Blade Runner" hybridised elements of science fiction and film noir, cautioning audiences of the alienating realisation of globalisation. Advertising and well-known brands, "Coca-Cola", epitomise corporate greed and cultural integration, satirising the industrialisation of society, "helping America into the new world". Scott's nihilistic connotations elapsing from dark film noir attributes depicts the nightmarish dystopia of consumerism, characterising Deckard, a powerless hostage of fate facing social corruption, "If you're not cop, you're little people". Contrasting Deckard, corporate 'God' Tyrell symbolizes the futuristic world, questioning what it is to be human through his technological creations, "Replicants". Challenging God's authority by overstepping moral boundaries, this text in time cautions audiences of the consequences and omnipotence of unnatural science and technology, "Replicants are like any other machine; they're either a benefit or a hazard." Like Victor in "Frankenstein", oppression clouds realism in the corporate powered society by questioning what it is to be human and the effect of human experience.
Victor's egotistical desires in "Frankenstein" convey the misuse of science for personal glory, cautioning how the obsessive pursuit of knowledge can alienate individuals, "I seemed to have lost all soul or sensation but for this one pursuit." Likened to Satan in John Milton's "Paradise Lost", Victor turns from God and the natural, pursuing an obsessive passion, "my eyes were insensible to the charms of nature". The recurring intertextuality of "Paradise Lost" and recurring darkness motif symbolizes Victor's blind attraction to science. In searching science's "new and almost unlimited powers", Victor creates the monster in isolation, his moral blindness alliterated in "deep, dark and deathlike solitude".
