A central theme shared by both texts is the dangers of unrestrained scientific progress. By not placing restrictions upon ourselves, we strive for the impossible and eventually lose our sense of identity along the way. In Frankincense, the protagonist Victor involves himself with the contextually relevant Galvanism and infuses life into an Inanimate body. It is this hubris act of unrestrained scientific ambition that leads to Frankincense’s downfall.
Shelley uses allusions to emphasis this notion, such as her reference “a thing such not even Dante could have inclined”. This derives from Dante Laughter’s Delve Comedy, a poem recounting an experience of a man Journeying through hell, similarly Victor’s hell Is an existential one brought about by his transgression against a Christian natural order. .. This hell Similarly, Coot’s depiction of 201 9, L. A as is an indictment of humanities environmental degradation. In the opening panning shot of the city escape, a lifeless city bereft of nature is depicted.
Its decaying humanistic foundations are seen to be falling beneath the destructive nature of unrestrained technological advancements. The sky is a persistent night, neon lights proxy the natural light from the sun and acid rain falls to ground consistently throughout the film. These repeated visual metaphors are complemented by the synthetic soundtrack, creating a sense of natural obsolescence synonymous with a dyspepsia world where unrestrained technological advancements reach points beyond redemption.
Additionally, humanities relationship to nature Is explored by both texts. It not only exists wealth the setting for both texts, but is also characterized to reveal Its connection to humanity. Elements synonymous with the Romantic Movement are used to explore this in Frankincense. This is communicated through scenes of Victor heading into nature to find spiritual renewal. An example of this comes when Victor is provided with a ‘sublime ecstasy whilst traversing through the Alps.
After conceding to create a companion for his monster Victor travels to a ‘desolate and appalling landscape’ where God is absent. Shelley use of pathetic fallacy portrays elements of the Gothic genre but, Victor’s anti-ethical values provide a homage to the prevailing ideological radium of the Enlightenment period. (((((((((This imagery helps illustrate how Victor himself sees nature as a humanistic force. Victor recognizes its symbolic value, and this helps him to see the faults in his actions.
Once he comes to terms with his Inhumanity, Victor disregards the majesty of nature and commutes to an atmosphere more suited for such acts. In contrast, Scott has created a world rendered Capitalism which is a reflection of the boom in technology relevant to the ass’s. Whilst Frankincense creates a world at a possible state of technological and scientific destruction, Blade Runner is set in dyspepsia devoid of Tersely the CEO of the Tersely Corporation is portrayed as the ambassador of inhumanity in the film, as well as the pinnacle of hierarchal authority.
This superiority is illustrated by the upshot of the ‘Tersely Towers’, Juxtaposed by the camera panning down to ‘street level’. Blade Runner consistently uses visual symbols to represent humanity, such as the eye. Tersely is characterized as having impaired vision, and his glasses are used to represent his metaphoric blindness to the diminishing consequences of his technologies. Ata hierarchal state of power Trestle’s Godlike state of being reflects his responsibility to the city as well as his responsibility to his bioengineering replicates.
Despite their contextual differences, Frankincense and Blade Runner are similar in their analytical explorations of the dangers surrounding unrestricted and diminishing technologies. Coot’s portrayal of a decaying environment also reflects the growing ecological awareness of the ass’s, which, whilst different to Shelley Romantic values, is similarly employed to highlight the destruction of mankind due to technology. 930 words.