Feeling Real, Feeling Free: the Body, Bio-Politics and the Spectacle in Blade Runner 2019 and 2049
| dc.authorscopusid | 9335633100 | |
| dc.authorscopusid | 55608597900 | |
| dc.contributor.author | Diken,B. | |
| dc.contributor.author | Diken, Bülent | |
| dc.contributor.author | Gilloch,G. | |
| dc.contributor.other | Radio, Television and Cinema | |
| dc.date.accessioned | 2024-06-23T21:38:43Z | |
| dc.date.available | 2024-06-23T21:38:43Z | |
| dc.date.issued | 2023 | |
| dc.department | Kadir Has University | en_US |
| dc.department-temp | Diken B., Department of Sociology, Lancaster University, United Kingdom, Department of Radio, TV and Cinema, Kadir Has University, Turkey; Gilloch G., Department of Sociology, Lancaster University, United Kingdom | en_US |
| dc.description.abstract | This paper sets Scott’s original film Blade Runner (1982) and Villeneuve’s Blade Runner 2049 (2017) in a ‘disjunctive synthesis’ in order to provide critical analyses of both films with respect to some complex configurations of the body along two axes: bio-politics and the spectacle. We offer a reading of these configurations by focusing on the relationships between the human (organic), the non-human (android) and the immaterial (holographic); the eye (optics), the hand (haptics), and aesthetics; slavery, instrumental labour and free-play; the politics of bodies and of memories; the potentialities of revolution and the transmission of ‘tradition of the oppressed’. In this, we foreground two seemingly marginal characters – J. F. Sebastian and Ana Stelline. These ‘little people’ embody and inhabit the convolutions of Blade Runner’s ‘more human than human’ world through ‘free use’ of the body and playfulness which, superficially innocent, nevertheless bear within them the promise of radical political change. © 2023, The Netherlands Press. All rights reserved. | en_US |
| dc.identifier.citationcount | 0 | |
| dc.identifier.doi | 10.56801/esic.v7.i1.1 | |
| dc.identifier.endpage | 13 | en_US |
| dc.identifier.issn | 2472-9884 | |
| dc.identifier.issue | 1 | en_US |
| dc.identifier.scopus | 2-s2.0-85186946873 | |
| dc.identifier.scopusquality | Q2 | |
| dc.identifier.startpage | 1 | en_US |
| dc.identifier.uri | https://doi.org/10.56801/esic.v7.i1.1 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12469/5824 | |
| dc.identifier.volume | 7 | en_US |
| dc.language.iso | en | en_US |
| dc.publisher | The Netherlands Press | en_US |
| dc.relation.ispartof | Evolutionary Studies in Imaginative Culture | en_US |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.scopus.citedbyCount | ||
| dc.subject | Bio-politics | en_US |
| dc.subject | Blade runner | en_US |
| dc.subject | Fiction | en_US |
| dc.subject | Impotentiality | en_US |
| dc.subject | Spectacle | en_US |
| dc.title | Feeling Real, Feeling Free: the Body, Bio-Politics and the Spectacle in Blade Runner 2019 and 2049 | en_US |
| dc.type | Article | en_US |
| dspace.entity.type | Publication | |
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