Kelsey Keegan
Film 101: Intro. to Film
Professor Cornejo
12/19/2013
Creator vs. The Created:
Technological Instrumentalism and Determinism in Blade Runner
Blade Runner tells the story of a futuristic society in which Tyrell Corporation creates
bioengineered beings (known as replicants) that are almost identical to humans, but are
stronger, more beautiful and more intelligent. These replicants were initially used for labor in
off-world colonies until they mutinied, became a threat to the established order, and “blade
runner” units were ordered to “retire them,” a euphemism for extermination. Some replicants,
however, came to Earth illegally in hopes of seeking a way to extend their “lives.”
This new future imagines a reality in which a contentious power struggle exists
between humans and technology (replicants), in an increasing division of technological
agency from human agent (an unequal divide between creator and created). Technological
instrumentalism is the notion that humans control technology and its progression – humans
make it for their own tools, whereas technological determinism is the notion that
technological progression determines humans’ lives – humans cannot control it. The
futuristic society highlights the two opposing forces between technological instrumentalism
and determinism, in which humans at Tyrell Corp. initially create the replicants for their own
uses, but then the replicants take over and begin to determine the outcome of humans’ lives.
The director utilizes techniques such as dialogue and framing to portray this struggle.
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One of the many scenes in which this is represented is when Pris and Roy Batty are at
Sebastian’s apartment. Sebastian plays a role as creator as he is not only a genetic engineer,
but is also an assistant to Tyrell, the original mastermind behind the creation of replicants.
Sebastian introduces the manufactured companions he created to Roy and Pris by saying,
“They’re my friends. I made them.” After this Roy can barely mask his anger and contempt,
saying, “Boy, you've got some nice toys here.” Batty sees them for what they are: inferior
models of himself; they could have been as smart and strong as he is, if only they were
engineered differently. When Sebastian discovers that Roy and Pris are replicants, he doesn’t
ask, “Let me understand you,” but rather, “Show me something.” To Sebastian, these two
replicants are only an interesting application of genetic design.
Upon learning this, he tells them that he is a genetic engineer and states that, “There’s
some of me in you.” He also tells Roy and Pris, “You’re so different, you’re so perfect.” This
dialogue sets up the relationship between Sebastian and the replicants - the first meeting
between creator and created. However, Roy emphasizes that “We’re no computers, we’re
physical,” and Pris adds, “I think therefore I am.” The replicants see themselves as
equivalents to human beings, both on physical and intellectual levels, but Sebastian doesn’t
seem to think so. Roy becomes enraged that Sebastian is complicit in the system (as he is a
creator), which requires that replicants slave and die and he demands that Sebastian take
them to Tyrell. This scene portrays the shift from technological instrumentalism to
technological determinism. In the beginning, Sebastian had help in creating and controlling
technology, whereas now the replicants take over and decide the human’s fate.
Another of these critical scenes is when Sebastian and Roy gain entrance into Tyrell's
penthouse. Roy enters the room and when Tyrell asks why he took so long to come to Earth,
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Batty replies, “It’s not an easy thing to meet your maker.” Batty approaches Tyrell and asks,
“Can the maker repair what he made?” Tyrell says, “We made you as good as we could,” but
batty points out, “But not to last.” Tyrell tells him that it is impossible. Roy confesses his
guilt that he has done “questionable things” which Tyrell dismisses, praising Roy's advanced
design and his accomplishments. Roy then responds with, “Nothing the god of biomechanics
wouldn't let you into heaven for.” In an example of the love-hate relationship between creator
and created, Roy kisses Tyrell and then slowly crushes his skull. This is a theological
hypothetical brought to reality. How would one confront one's creator for the injustice of
one's surroundings? Roy is unhappy that his creator doesn't have an answer to his question
and hope for a longer existence.
One of the last, most pivotal scenes of the entire film is when Deckard and Roy duke
it out on the rooftop – a physical and metaphorical fight between human and technology. The
inequality of power (technology/robot over human) here is evidenced by the framing. Roy
Batty is framed in a position of power throughout the sequence overpowering Deckard. The
point of view of the camera and audience is one in which the viewers are looking up at Roy
Batty and down at Deckard. The camera angle here portrays how the audience should view
these characters and the unequal relationship between them.
Additionally, the dialogue and acting contributes to this theme as Roy Batty says
“quite an experience to live in fear, isn’t it? That’s what it is to be a slave.” Now there is a
role reversal, where Roy (the technology) begs a question of Deckard (the human). Here Roy
tries to get Deckard to see what humans have done to him and technology in general.
Humans have created technology and have made it their slaves. We see how Deckard is now
the one living in fear of technology as he hangs off the edge of the building, with Roy
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towering over him. Before, Roy and the other replicants “lived” in fear of humans retiring
them.
The use of close ups also helps to portray the expression of this dynamic as we see in
Batty’s face emotions of pride and ecstasy as Deckard looks frightened and anxious. Then
comes a pivotal moment in the film where this inequality of power shifts yet again (from
technology back to human) as Batty realizes his time “living” is at an end after saving
Deckard from slipping off the side of the building. His dialogue, “all the moments [and his
memories of “living”] will be lost in time like tears in rain,” shows how precious it is to
really live. The replicant seems to challenge the human to prove his humanity, to show
emotion, to take risks and truly to come alive by living in fear. The overuse and abuse of
technology teaches humans what it means to live and not just go through the motions of life –
how to not be a slave and dependent on such technology. This quote is also vitally important
as in this scene (and all other scenes of this future, industrialized L.A. setting) it is raining.
Batty’s words ring true and are synonymous with this theme. The abuse of technology
becomes a lesson in teaching humans how to really live. Humans created replicants, became
dependent on them, and then tried to escape them.
In an emotionally charged shot, Roy says, “time to die,” as the diegetic sound of rain
fades out and nondiegetic twinkling music fades in, as time seems to slow. This is the
moment of realization for Deckard. This is when he comes to terms with the importance of
really living and not being dependent upon technology. Roy Batty embarks on a quest to
come to terms with his “life” and his relationship to his creator (Tyrell, and humans in
general) and Deckard finally understands the same. This last scene professes a healing vision;
a union between human and technology comes about. There is hope for equality in the future.
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The film comes full circle from humans hunting replicants and being killed by them
to replicants hunting humans and saving them. Deckard, after Batty’s death, realizes, “all
they wanted was the same answers the rest of us wanted.” The question here is not, “should
advanced robot/technology and humans have equal rights?” It's more along the lines of “what
is the most important characteristic of a human - the pursuit of power or the pursuit of
understanding?” The humans in the story are oriented toward preserving power systems
while the replicants, on the other hand, are primarily concerned with understanding who and
what they are. With this in mind, the goal of the replicants is to find their creator in hopes
that he can answer their questions. The replicants are idealistic. They have not yet embraced
the cynicism that is characteristic of the human characters in the story. They want meaning
and truth. The replicants seem naive, but through their innocence and how they truly seem to
live their lives, they expose the decrepitude that humanity has fallen into through the
dependence on technology.
At the surface level, Blade Runner addresses fears of a coming conflict of man vs.
machine/technology, but there are plenty of underlying questions brought up in the film,
which are worth pondering. Something that we can definitely think about in our present
relationship with technology is this: do we see it as a tool through which we can gain
understanding about ourselves and the world or is it merely a means to power and control,
which could, potentially determine our fates? The futuristic society in Blade Runner
highlights these two opposing forces between technological instrumentalism and
determinism, showing that not only are both of these notions possible, but there is still some
hope for an equal balance between humanity and technology.
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Works Cited
Barringer, Robert. “Blade Runner: Skinjobs, Humans and Racial Coding.” Jump Cut: A
Review
of Contemporary Media. 1997.
Blade Runner: The Director's Cut. Dir. Ridley Scott. Warner Bros Entertainment Inc., 1992.
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