Blade Runner: humanity and the machine under the rain
DOI:
https://doi.org/10.37646/huella.v17i17.609Keywords:
Case analysis, Blade Runner, cinematographic semiotics, cinematographic language, cyberpunkAbstract
This text is a case analysis of the audiovisual Blade Runner (1982) as the greatest exponent of the cyberpunk genre according to the treatises shared by Marcel Martin (2002) on cinematographic language. From a historical review of the concept that has permeated various social and artistic spheres of the human being, a cinematographic analysis from semiotics is carried out, to conclude that not all films that claim to belong to the genre exploit all the elements that cyberpunk provides, but Ridley Scott's work does it masterfully.
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Copyright (c) 2024 Hector Alonso Gaytán Padilla
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