Filming Blade Runner

Bukatman, Scott

doi:10.1007/978-1-84457-713-2_2

Cited by 4 publications

(9 citation statements)

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“…Crabtree and Quinn took inspiration from Ridley Scott's original Blade Runner (1982), one of the most successful science fiction films ever made. Evoking pulp science fiction comic strips from the 1980s, the feature film stands out for Scott's dense and layered visuals that exaggerate the darkness, density and scale of urban space (Bukatman, 2012). Similarly, many scenes in The Immortalist are shot at night and in dramatic locations, such as a cemetery, a futuristic skyscraper, a New York City subway station platform, and the iconic storm drains of Los Angeles.…”

Section: The Immortalistmentioning

confidence: 99%

Performing ‘the authoritative account’: How the BBC’s Horizon produces epistemic authority

Kantor

2020

Soc Stud Sci

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Viewers have often looked upon the BBC’s science documentary strand, Horizon, as an authoritative source for scientific knowledge. Through interviews with the series’ producers, this article examines the practices its producers perform to buttress their authority and generate the view that this show is itself a producer of knowledge, even while it is also televising and mediating science. Of particular note are references to science fiction to police boundaries between science and pseudoscience, and the use of original experimental trials to generate witnesses. These position Horizon as at least a node in the network of scientific knowledge production.

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Section: The Immortalistmentioning

confidence: 99%

Performing ‘the authoritative account’: How the BBC’s Horizon produces epistemic authority

Kantor

2020

Soc Stud Sci

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“…The visuals of this film (which "has already achieved the oxymoronic status of a canonical postmodern cultural artifact" See Doel, Clarke 1997: 140) were based from the very beginning on Asian premises, and so was its gloomy, rain drenched atmosphere. "Hong Kong on a very bad day" (Wheale 1995: 107) is the kind of landscape that inspired Ridley Scott, by his own admission (on the making of Blade Runner, see also Bukatman 2012;Sammon 1996).…”

Section: Shanghai As a Beacon Of Modernity: Angels Over The Metropolismentioning

confidence: 99%

Shanghaied Into the Future: The Asianization of the Future Metropolis in Post-Blade Runner Cinema

Ceresa

2017

Journal of Architecture and Urbanism

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abstract. The clichéd 1930The clichéd -1950 Western cinematic images of Shanghai as a fascinating den of iniquity, and, in contrast, as a beacon of modernity, were merged in Fritz Lang's Metropolis. As a result, a new standard emerged in science fiction films for the representation of future urban conglomerates: the Asianized metropolis. The standard set by this film, of a dark dystopian city, populated by creatures of all races and genetic codes, will be adopted in most of the representations of future cities in non-Asian cinema. This article traces the representation of Shanghai in Western cinema from its earliest days (1932-Shanghai Express) through Blade Runner (1982) to the present (2013-Her). Shanghai, already in the early 1930s, sported extremely daring examples of modern architecture and, at the same time, in non-Asian cinema, was represented as a city of sin and depravity. This dualistic representation became the standard image of the future Asianized city, where its debauchery was often complemented by modernity; therefore, it is all the more seedy. Moreover, it is Asianized, the "Yellow Peril" incarnated in a new, much more subtle, much more dangerous way. As such, it is deserving of destruction, like Sodom and Gomorrah.

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“… 11. The illusion is an impressive accomplishment given that the set was a miniature, 18-feet long and 13-feet deep (Bukatman, 1997). While Scott’s initial idea for the scene was motivated by a flight into New York, the lighting for the scene came to chief model maker, Mark Stetson, when he was flying into Los Angeles at night and suddenly realized why the original plan for toplit fluorescent lamps had not worked (Sammon, 2007).…”

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confidence: 99%

“… 13. Another is Frank Lloyd Wright’s Ennis-Brown House of 1923, on which Deckard’s apartment is modeled (Bukatman, 1997). For more on the cinematic appearances of these buildings, see Los Angeles Plays Itself (2003, directed by Thom Andersen). …”

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confidence: 99%

Berlin

Ingram

2014

Space and Culture

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Historical films about Hitler and Nazi Germany are perennially popular both within and beyond the academy. However, even in films not set in, or in any way involving, Nazi Berlin but rather only filmed on location in the city, material memories of the city’s fascist spaces can be shown to exert their influence. In comparing the eerily similar geo-aesthetic styles of two relatively obscure, relatively recent science fiction action films—Kurt Wimmer’s Equilibrium (2002) and Karen Kusama’s Aeon Flux (2005)—this contribution seeks to understand how the historically inflected spatial dimension of its urban imaginary has translated into a discernibly dark and spectacularly gendered film style.

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Filming Blade Runner

Cited by 4 publications

References 0 publications

Performing ‘the authoritative account’: How the BBC’s Horizon produces epistemic authority

Performing ‘the authoritative account’: How the BBC’s Horizon produces epistemic authority

Shanghaied Into the Future: The Asianization of the Future Metropolis in Post-Blade Runner Cinema

Berlin

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