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Line 79: == Production == === Development === [[File:Blade Runner - Ridleyville Map - Version in English and JPEG format.jpg\|thumb\|alt=Map of Ridleyville\|Map of Ridleyville, exterior sets for ''Blade Runner'' located on the New York Street of the [[Warner_Bros._Studios_Burbank\|Warner Bros. Studios lot]] ([[Burbank, California]])]] {{Anchor\|Writing\|Development}} Line 104: [[Casting (performing arts)\|Casting]] the film proved troublesome, particularly for the lead role of Deckard. Screenwriter Hampton Fancher envisioned [[Robert Mitchum]] as Deckard and wrote the character's dialogue with Mitchum in mind.<ref name="DangerousDays">{{citation \|title=Dangerous Days: Making ''Blade Runner'' [documentary] \|work=Blade Runner: The Final Cut \|type=DVD \|publisher=[[Warner Bros.]] \|year=2007 \|orig-year=1982}}</ref> Director Ridley Scott and the film's producers spent months meeting and discussing the role with [[Dustin Hoffman]], who eventually departed over differences in vision.<ref name="DangerousDays" /> Harrison Ford was ultimately chosen for several reasons, including his performance in the ''[[Star Wars]]'' films, Ford's interest in the ''Blade Runner'' story, and discussions with [[Steven Spielberg]] who was finishing ''[[Raiders of the Lost Ark]]'' at the time and strongly praised Ford's work in the film.<ref name="DangerousDays" /> Following his success in those two films, Ford was looking for a role with dramatic depth.<ref name="BladeRunnerNightmare" /> According to production documents, several actors were considered for the role, including [[Gene Hackman]], [[Sean Connery]], [[Jack Nicholson]], [[Paul Newman]], [[Clint Eastwood]], [[Tommy Lee Jones]], [[Arnold Schwarzenegger]], [[Peter Falk]], [[Nick Nolte]], [[Al Pacino]] and [[Burt Reynolds]].<ref name="DangerousDays" /><ref>{{Cite magazine \|url=https://time.com/3834604/blade-runner-ridley-scott-harrison-ford/ \|title=Blade Runner at 30: Celebrating Ridley Scott's Dystopian Vision \|magazine=[[Time (magazine)\|Time]]\|access-date=June 18, 2021\|archive-date=September 30, 2021\|archive-url=https://web.archive.org/web/20210930132246/https://time.com/3834604/blade-runner-ridley-scott-harrison-ford/\|url-status=live}}</ref> ~~One role that was not difficult to cast was~~ [[Rutger Hauer]] was cast as Roy Batty,<ref name="NYT-20190725">{{cite news \|last=Ebiri \|first=Bilge \|title=Even Now, Rutger Hauer's Performance in 'Blade Runner' Is a Marvel – With his combination of menace and anguish, he created an unforgettable character that made the movie the classic it remains today. \|url=https://www.nytimes.com/2019/07/25/movies/blade-runner-rutger-hauer.html \|date=July 25, 2019 \|work=[[The New York Times]] \|access-date=July 25, 2019 \|archive-url=https://web.archive.org/web/20190725134017/https://www.nytimes.com/2019/07/25/movies/blade-runner-rutger-hauer.html \|archive-date=July 25, 2019 \|url-status=live}}</ref> the violent yet thoughtful leader of the replicants.<ref name="Ebert">{{citation \|last=Ebert \|first=Roger \|date=September 11, 1992 \|url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19920911/REVIEWS/209110301/1023 \|title=Blade Runner: Director's Cut [review] \|work=RogerEbert.com \|access-date=July 27, 2011 \|archive-url= https://web.archive.org/web/20130304150411/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19920911%2FREVIEWS%2F209110301%2F1023 \|archive-date=March 4, 2013 \|url-status=dead}}</ref> Scott cast Hauer without having met him, based ~~solely~~ on ~~Hauer's~~his performances in [[Paul Verhoeven]]'s movies that Scott had seen (''[[Keetje Tippel\|Katie Tippel]]'', ''[[Soldier of Orange]]'', and ''[[Turkish Delight (1973 film)\|Turkish Delight]]'').<ref name="DangerousDays" /> Hauer's portrayal of Batty was regarded by Philip K. Dick as "the perfect Batty – cold, [[Aryan race\|Aryan]], flawless".{{sfn\|Sammon\|p=284}} Of the many films Hauer made, ''Blade Runner'' was his favorite. ~~As he explained in~~In a live chat in 2001, he said <!-- This quote is literally what is said on the website; do not "correct" it. --> "''Blade Runner'' needs no explanation. It just {{em\|[is]}}. All of the best. There is nothing like it. To be part of a real {{em\|masterpiece}} which changed the world's thinking. It's awesome."<ref>{{cite interview \|last=Hauer \|first=Rutger \|subject-link=Rutger Hauer \|url=http://www.rutgerhauer.org/chatroom/transcript05.php \|title=Chatroom Transcripts: Live Chat February 7, 2001 \|date=February 7, 2001 \|work=RutgerHauer.org \|access-date=July 27, 2011 \|archive-url= https://archive.today/20120909185908/http://www.rutgerhauer.org/chatroom/transcript05.php \|archive-date=September 9, 2012 \|url-status=dead}}{{self-published source \|date=February 2018 \|reason=This is a permissible SPS, per WP:ABOUTSELF.}}</ref> Hauer rewrote his character's "[[Tears in rain monologue\|tears in rain]]" speech himself and presented the words to Scott on set prior to filming. ''Blade Runner'' used a number of then-lesser-known actors: [[Sean Young]] portrays Rachael, an experimental replicant implanted with the memories of Tyrell's niece, causing her to believe she is human;{{sfn\|Sammon\|p=92–93}} [[Nina Axelrod]] auditioned for the role.<ref name="DangerousDays" /> Fancher originally wrote the role for his then girlfriend [[Barbara Hershey]].<ref name=vanity>{{cite magazine \|url=https://www.vanityfair.com/hollywood/2017/09/the-battle-for-blade-runner-harrison-ford-ridley-scott \|title=The Battle for Blade Runner \|magazine=Vanity Fair \|last=Schulman \|first=Michael \|date=September 14, 2017 \|access-date=August 9, 2024}}</ref> [[Daryl Hannah]] portrays Pris, a "basic pleasure model" replicant; [[Stacey Nelkin]] auditioned for the role, but was given another part in the film, which was ultimately cut before filming.<ref name="DangerousDays" /> [[Debbie Harry]] turned down the role of Pris.<ref>{{Cite web \|url=https://www.nme.com/blogs/the-movies-blog/10-things-you-never-knew-about-blade-runner-759354 \|title=10 Things You Never Knew About Blade Runner \|website=[[NME]] \|date=October 5, 2017\|access-date=October 8, 2021\|archive-date=October 10, 2021\|archive-url=https://web.archive.org/web/20211010002338/https://www.nme.com/blogs/the-movies-blog/10-things-you-never-knew-about-blade-runner-759354\|url-status=live}}</ref><ref>{{Cite web \|url=http://www.hollywood.com/general/debbie-harry-my-biggest-regret-is-turning-down-blade-runner-59856599/ \|title=Debbie Harry: 'My biggest regret is turning down Blade Runner' \|date=June 16, 2014\|access-date=October 8, 2021\|archive-date=January 9, 2018\|archive-url=https://web.archive.org/web/20180109040050/http://www.hollywood.com/general/debbie-harry-my-biggest-regret-is-turning-down-blade-runner-59856599/\|url-status=live}}</ref> Casting Pris and Rachael was challenging, requiring several screen tests with [[Morgan Paull]] playing the role of Deckard. Paull was cast as Deckard's fellow bounty hunter Holden based on his performances in the tests.<ref name="DangerousDays" /> [[Brion James]] portrays Leon Kowalski, a combat and laborer replicant, and [[Joanna Cassidy]] portrays Zhora, an assassin replicant. Line 121: {{Main\|Spinner (Blade Runner){{!}}''Spinner'' (Blade Runner)}} [[File:Spinner3.jpg\|thumb\|A "spinner" (police variant) on display at [[Disney's Hollywood Studios\|Disney-MGM Studios]] in the 1990s]] "Spinner" is the generic term for the fictional flying cars used in the film. A spinner can be driven as a ground-based vehicle, and take off vertically, hover, and cruise much like [[VTOL\|vertical take-off and landing (VTOL)]] aircraft. They are used extensively by the police as [[patrol car]]s, and wealthy people can also acquire spinner licenses.{{sfn\|Sammon\|p=79–80}} The vehicle was conceived and designed by Syd Mead who described the spinner as an [[Aircraft#Heavier-than-air – aerodynes\|aerodyne]] – a vehicle which directs air downward to create [[Lift (force)\|lift]], though press kits for the film stated that the spinner was propelled by three engines: "conventional [[Internal combustion engine\|internal combustion]], [[Jet engine\|jet]], and [[anti-gravity]]".<ref name="SJPSTop40">{{citation \|title=The Top 40 Cars from Feature Films: 30. Police Spinner \|url=http://www.screenjunkies.com/movies/movie-news/the-top-40-cars-from-feature-films-30-26/ \|work=ScreenJunkies \|access-date=July 27, 2011 \|date=March 30, 2010 \|quote=though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet and anti-gravity". \|archive-url= https://web.archive.org/web/20140404023133/http://www.screenjunkies.com/movies/movie-news/the-top-40-cars-from-feature-films-30-26/ \|archive-date=April 4, 2014}}</ref><ref>{{Cite web \|~~last~~last1=Lightman \|~~first~~first1=Herb A. \|last2=Patterson \|first2=Richard \|date=2020-10-07 \|title=Discussing the Set Design of Blade Runner \|url=https://theasc.com/articles/blade-runner-set-design \|access-date=2024-08-29 \|website=The American Society of Cinematographers \|language=en}}</ref> A spinner is on permanent exhibit at the [[Museum of Pop Culture\|Science Fiction and Fantasy Hall of Fame]] in Seattle, Washington.<ref>{{cite web \|url=http://www.empsfm.org/documents/press/EMPSFMBrochure.pdf \|publisher=[[Museum of Pop Culture]] \|title=Experience Music Project / Science Fiction Museum and Hall of Fame (EMP/SFM) \|archive-url= https://web.archive.org/web/20110124232804/http://www.empsfm.org/documents/press/EMPSFMBrochure.pdf \|archive-date=January 24, 2011 \|url-status=dead}}</ref> Mead's conceptual drawings were transformed into 25 vehicles by automobile customizer [[Gene Winfield]]; at least two were working ground vehicles, while others were light-weight mockups for crane shots and set decoration for street shots.<ref name="Winfield & Willoughby">{{cite interview \|url=http://media.bladezone.com/contents/film/interviews/gene-winfield/ \|work=BladeZone \|title=Deconstructing the Spinner \|last=Winfield \|first=Gene \|subject-link=Gene Winfield \|interviewer=Willoughby, Gary \|access-date=July 27, 2011 \|archive-url= https://web.archive.org/web/20130927020356/http://media.bladezone.com/contents/film/interviews/gene-winfield/ \|archive-date=September 27, 2013}}</ref> Two of them ended up at [[Disney World]] in Orlando, Florida, but were later destroyed, and a few others remain in private collections.<ref name="Winfield & Willoughby" /> ==== Voight-Kampff machine ==== Line 144: Despite being well received by fans and critically acclaimed and nominated in 1982 for [[36th British Academy Film Awards\|a BAFTA]] and [[40th Golden Globe Awards\|a Golden Globe]] as best original score, and the promise of a soundtrack album from [[Polydor Records]] in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade. There are two official releases of the music from ''Blade Runner''. In light of the lack of a release of an album, the [[New American Orchestra]] recorded an orchestral adaptation in 1982 which bore little resemblance to the original. Some of the film tracks would, in 1989, surface on the compilation ''Vangelis: Themes'', but not until the 1992 release of the ''Director's Cut'' version would a substantial amount of the film's score see commercial release.{{sfn\|Sammon\|p=419–423}} These delays and poor reproductions led to the production of many [[bootleg recording]]s over the years. A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 "Off World Music, Ltd" created a bootleg CD that would prove more comprehensive than Vangelis' official CD in 1994.{{sfn\|Sammon\|p=419–423}} A set with three CDs of ''Blade Runner''-related Vangelis music was released in 2007. Titled ''Blade Runner Trilogy'', the first disc contains the same tracks as the 1994 official soundtrack release, the second features previously unreleased music from the ~~movie~~film, and the third disc is all newly composed music from Vangelis, inspired by, and in the spirit of the ~~movie~~film.<ref>{{citation \|url=https://pitchfork.com/reviews/albums/11110-blade-runner-trilogy-25th-anniversary/ \|title=Album Review: Vangelis: ''Blade Runner Trilogy: 25th Anniversary'' \|first=Mike \|last=Orme \|work=[[Pitchfork (website)\|Pitchfork]] \|access-date=July 27, 2011 \|date=February 7, 2008 \|archive-url= https://web.archive.org/web/20131029200702/http://pitchfork.com/reviews/albums/11110-blade-runner-trilogy-25th-anniversary/ \|archive-date=October 29, 2013}}</ref> === Special effects === Line 165: Ridley Scott's ''Director's Cut'' (1992, 116 minutes)<ref name=bbfcdirectorscut>{{cite web \|url=https://www.bbfc.co.uk/releases/blade-runner-directors-cut-film \|title=''Blade Runner'' [Director's Cut] \|publisher=British Board of Film Classification \|date=September 29, 1992 \|access-date=January 8, 2016 \|url-status=live \|archive-url= https://web.archive.org/web/20160406204404/http://www.bbfc.co.uk/releases/blade-runner-directors-cut-film \|archive-date=April 6, 2016}}</ref> had significant changes from the theatrical version including the removal of Deckard's voice-over, the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the ''Director's Cut''.{{sfn\|Sammon\|p=353, 365}} It is often falsely claimed that the unicorn sequence was an [[outtake]] from Ridley Scott's follow-up film ''[[Legend (1985 film)\|Legend]]'' which also features unicorns, but it was in fact shot for Blade Runner as "additional photography" by second unit cinematographer [[Brian Tufano]].<ref>{{cite web\|url=https://www.theguardian.com/film/2023/jan/26/brian-tufano-obituary\|title=Brian Tuffano Obituary\|publisher=theguardian.com \|date=January 26, 2023}}</ref> Scott's definitive ''The Final Cut'' (2007, 117 minutes)<ref name=bbfcfinal>{{cite web \|url=https://www.bbfc.co.uk/releases/blade-runner-film-0 \|title=''Blade Runner'' [The Final Cut] \|publisher=British Board of Film Classification \|date=October 12, 2007 \|access-date=January 8, 2016 \|url-status=live \|archive-url= https://web.archive.org/web/20160305203132/http://bbfc.co.uk/releases/blade-runner-film-0 \|archive-date=March 5, 2016}}</ref> was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, [[HD DVD]], and [[Blu-ray Disc]] in December 2007.<ref name="thedigitalbits">{{citation \|title=''Blade Runner: The Final Cut'' \|date=July 26, 2007 \|url=http://www.thedigitalbits.com/site_archive/articles/br2007/announce.html \|archive-url= https://web.archive.org/web/20140222043104/http://www.thedigitalbits.com/site_archive/articles/br2007/announce.html \|work=The Digital Bits \|access-date=July 27, 2011 \|archive-date=February 22, 2014}}</ref> This is the only version over which Scott had complete artistic and editorial control.{{sfn\|Sammon\|p=353, 365}} Line 180: Academics began analyzing the film almost as soon as it was released. One of the first books on the film was Paul M. Sammon's ''Future Noir: The Making of Blade Runner'' (1996),<ref>{{Cite book \|last=Sammon \|first=Paul M. \|url=https://books.google.com/books?id=Al2lPwAACAAJ \|title=Future Noir: The Making of Blade Runner \|date=1996 \|publisher=Orion Media \|isbn=978-0-7528-0740-9 \|language=en\|access-date=October 1, 2020\|archive-date=April 14, 2021\|archive-url=https://web.archive.org/web/20210414015432/https://books.google.com/books?id=Al2lPwAACAAJ\|url-status=live}}</ref> which dissects all the details concerning the film making. He was followed by [[Scott Bukatman]]'s ''Blade Runner''<ref>Bukatman, Scott. ''Blade Runner''. London: BFI, 1997.</ref> and other books and academic articles.<ref>{{citation \|last=Williams \|first=Douglas E. \|url=https://philosophy.as.uky.edu/sites/default/files/Ideology%20as%20Dystopia%20-%20An%20Interpretation%20of%20Blade%20Runner%20-%20Douglas%20E.%20Williams.pdf \|title=Ideology as Dystopia: An Interpretation of "Blade Runner" \|work=[[International Political Science Review]] \|volume=9 \|issue=4 \|date=October 1988 \|pages=381–394 \|access-date=October 13, 2015 \|jstor=1600763 \|url-status=live \|archive-url= https://web.archive.org/web/20160708052749/https://philosophy.as.uky.edu/sites/default/files/Ideology%20as%20Dystopia%20-%20An%20Interpretation%20of%20Blade%20Runner%20-%20Douglas%20E.%20Williams.pdf \|archive-date=July 8, 2016 \|publisher=[Sage Publications, Inc., Sage Publications, Ltd.]}}</ref> In ''Postmodern Metanarratives: Blade Runner and Literature in the Age of Image'', Décio Torres Cruz analyzes the philosophical and psychological issues and the literary influences in ''Blade Runner''. He examines the film's cyberpunk and [[dystopic]] elements by establishing a link between the Biblical, classical and modern traditions and the postmodern aspects in the film's collage of several literary texts.<ref name="Torres Cruz 2014">{{Cite book \|last=Torres Cruz \|first=Décio \|url=https://www.palgrave.com/gp/book/9781137439727 \|title=Postmodern Metanarratives: Blade Runner and Literature in the Age of Image \|date=2014 \|publisher=Palgrave Macmillan UK \|isbn=978-1-137-43972-7 \|language=en\|access-date=September 18, 2020\|archive-date=October 9, 2020\|archive-url=https://web.archive.org/web/20201009064728/https://www.palgrave.com/gp/book/9781137439727\|url-status=live}}</ref> The boom in home video formats helped establish a growing cult around the film,<ref name=":0">Dalton, Stephen (October 26, 2016). [https://www.bfi.org.uk/features/blade-runner "Blade Runner: anatomy of a classic"] {{Webarchive\|url=https://web.archive.org/web/20171015064343/http://www.bfi.org.uk/news-opinion/news-bfi/features/blade-runner \|date=October 15, 2017 }}. [[British Film Institute]].</ref> which scholars have dissected for its dystopic aspects, questions regarding "authentic" humanity, [[ecofeminism\|ecofeminist]] aspects<ref>{{citation \|last=Jenkins \|first=Mary \|url=http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210 \|year=1997 \|title=The Dystopian World of Blade Runner: An Ecofeminist Perspective \|journal=Trumpeter \|volume=14 \|issue=4 \|access-date=October 13, 2015 \|archive-url=https://web.archive.org/web/20170914233708/http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210 \|archive-date=September 14, 2017 \|url-status=live}}</ref> and use of conventions from multiple genres.<ref>{{citation \|last1=Doll \|first1=Susan \|last2=Faller \|first2=Greg \|url=https://www.questia.com/library/journal/1P3-1314619891/blade-runner-and-genre-film-noir-and-science-fiction \|title=Blade Runner and Genre: Film Noir and Science Fiction \|work=Literature Film Quarterly \|year=1986 \|volume=14 \|issue=2 \|access-date=October 13, 2015 \|url-status=live \|archive-url= https://web.archive.org/web/20151013050150/https://www.questia.com/library/journal/1P3-1314619891/blade-runner-and-genre-film-noir-and-science-fiction \|archive-date=October 13, 2015}}</ref> Popular culture began to reassess its impact as a classic several years after it was released.<ref>Gray, Tim (June 24, 2017). [https://variety.com/2017/film/news/blade-runner-1982-unloved-classic-1202476755/ "'Blade Runner' Turns 35: Ridley Scott's Unloved Film That Became a Classic"] {{Webarchive\|url=https://web.archive.org/web/20170705010740/https://variety.com/2017/film/news/blade-runner-1982-unloved-classic-1202476755/ \|date=July 5, 2017 }}. ''[[Variety (magazine)\|Variety]]''.</ref><ref>{{citation \|last=Shone \|first=Tom \|title=Woman: The Other Alien in Alien \|url=http://www.slate.com/articles/arts/culturebox/2012/06/prometheus_why_are_academics_so_obsessed_with_ridley_scott_s_alien_and_its_sequels_.html \|date=June 6, 2012 \|work=[[Slate (magazine)\|Slate]] \|url-status=live \|archive-url= http://webarchive.loc.gov/all/20160424231545/http://www.slate.com/articles/arts/culturebox/2012/06/prometheus_why_are_academics_so_obsessed_with_ridley_scott_s_alien_and_its_sequels_.html \|archive-date=April 24, 2016}}</ref><ref name="indiewire">{{citation \|last=Jagernauth \|first=Kevin \|title=''Blade Runner'' Is Almost a Religion for Me: Denis Villeneuve Talks Directing the Sci-fi Sequel \|url=http://blogs.indiewire.com/theplaylist/blade-runner-is-almost-a-religion-for-me-denis-villeneuve-talks-directing-the-sci-fi-sequel-20150428 \|access-date=October 12, 2015 \|work=[[IndieWire]] \|date=April 28, 2015 \|url-status=dead \|archive-url=https://web.archive.org/web/20151001045525/http://blogs.indiewire.com/theplaylist/blade-runner-is-almost-a-religion-for-me-denis-villeneuve-talks-directing-the-sci-fi-sequel-20150428 \|archive-date=October 1, 2015}}</ref> [[Roger Ebert]] praised the visuals of both the original and the ''Director's Cut'' and recommended it for that reason; however, he found the human story clichéd and a little thin.<ref name="Ebert" /> He later added ''The Final Cut'' to his "Great Movies" list.<ref>{{cite web \|url=https://www.rogerebert.com/reviews/great-movie-blade-runner-the-final-cut-1982 \|title=''Blade Runner: The Final Cut'' Movie Review (1982) \|last=Ebert \|first=Roger \|work=RogerEbert.com \|access-date=June 18, 2016 \|url-status=live \|archive-url= https://web.archive.org/web/20160627095550/http://www.rogerebert.com/reviews/great-movie-blade-runner-the-final-cut-1982 \|archive-date=June 27, 2016}}</ref> Critic Chris Rodley and [[Janet Maslin]] theorized that ''Blade Runner'' changed cinematic and cultural discourse through its image repertoire and subsequent influence on films.<ref>{{citation \|last=Rodley \|first=Chris \|title=''Blade Runner: The Director's Cut'' \|url=http://www.frieze.com/issue/article/blade_runner_the_directors_cut/ \|access-date=October 14, 2015 \|work=frieze \|year=1993 \|url-status=dead \|archive-url= https://web.archive.org/web/20080905211517/http://www.frieze.com/issue/article/blade_runner_the_directors_cut/ \|archive-date=September 5, 2008}}</ref> In 2012, ''[[Time (magazine)\|Time]]'' film critic [[Richard Corliss]] surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.<ref>[~~http~~https://time.com/3834604/blade-runner-ridley-scott-harrison-ford/ Blade Runner at 30: Celebrating Ridley Scott's Dystopian Vision] ~~{{webarchive \|url= https://web.archive.org/web/20161219180842/http://time.com/3834604/blade-runner-ridley-scott-harrison-ford/ \|date=December 19, 2016}}~~, ''Time'', Richard Corliss, June 25, 2012. Retrieved April 11, 2017.</ref> [[Denis Villeneuve]], who directed the sequel, ''[[Blade Runner 2049]]'', cites the film as a huge influence for him and many others.<ref name="indiewire" /> It has also been noted for its postmodernist approach and that it contributes to the historical development of modern dystopia in film.<ref>{{Cite journal \|last=Bruno \|first=Giuliana \|date=1987 \|title=Ramble City: Postmodernism and ''Blade Runner'' \|journal=October \|volume=41 \|pages=61–74 \|doi=10.2307/778330 \|jstor=778330\|issn = 0162-2870}}</ref> Furthermore, the futuristic version of Los Angeles has been widely discussed by academics with some comparing it to Milton's descriptions of hell in ''[[Paradise Lost]]''.<ref>{{Cite journal \|last=Desser \|first=David \|date=1985 \|title=Blade Runner: Science Fiction & Transcendence \|journal=Literature/Film Quarterly; Salisbury \|volume=13 \|pages=172–179 \|id={{ProQuest\|226985939}}}}</ref> A 2019 retrospective in the [[BBC]] argued that elements of the film's socio-political themes remained prescient in the real year of the film's setting, such as its depiction of [[climate change]].<ref>{{Cite web \|last=Barnett \|first=David \|title=Are we living in a Blade Runner world? \|url=https://www.bbc.com/culture/article/20191111-are-we-living-in-a-blade-runner-world \|access-date=June 30, 2022 \|website=www.bbc.com \|language=en \|archive-date=June 30, 2022 \|archive-url=https://web.archive.org/web/20220630150706/https://www.bbc.com/culture/article/20191111-are-we-living-in-a-blade-runner-world \|url-status=live }}</ref> From a more philosophical perspective, Alison Landsberg described Scott's direction of the film as a "prosthetic memory"—an action that has never happened and appears to be divorced from lived experience, yet it defines personhood and identity within the wider Blade Runner universe.<ref>{{Cite journal \|last=Landsberg \|first=Alison \|s2cid=144020560 \|date=1995 \|title=Prosthetic Memory: Total Recall and Blade Runner \|journal=Body & Society \|volume=1 \|issue=3–4 \|pages=175–189 \|doi=10.1177/1357034X95001003010}}</ref> Line 301: == Themes == {{Main\|Themes in Blade Runner}} The film operates on multiple dramatic and narrative levels. It employs some of the conventions of [[film noir]], among them the character of a ''[[femme fatale]]''; narration by the protagonist (in the original release); [[chiaroscuro]] cinematography; and giving the hero a questionable moral outlook – extended to include reflections upon the nature of his own humanity.<ref name="Barlow">Barlow, Aaron "Reel Toads and Imaginary Cities: Philip K. Dick, ''Blade Runner'' and the Contemporary Science Fiction Movie" in {{harvnb\|Brooker\|pp=43–58}}.</ref><ref>Jermyn, Deborah "The Rachael Papers: In Search of ''Blade Runner''s Femme Fatale" in {{harvnb\|Brooker\|pp=159–172}}.</ref> It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of [[genetic engineering]] in the context of [[Theatre of ancient Greece\|classical Greek drama]] and [[hubris]].<ref>{{citation \|url=http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210 \|title=The Dystopian World of ''Blade Runner'': An Ecofeminist Perspective \|access-date=July 27, 2011 \|journal=Trumpeter \|last=Jenkins \|first=Mary \|year=1997 \|volume=14 \|issue=4 \|archive-url=https://web.archive.org/web/20090214004426/http://trumpeter.athabascau.ca/index.php/trumpet/article/view/172/210 \|archive-date=February 14, 2009 \|url-status=live}}</ref> It also draws on Biblical images, such as [[Genesis flood narrative\|Noah's flood]],<ref>Kerman, Judith B. "Post-Millennium ''Blade Runner''" in {{harvnb\|Brooker\|pp=31–39}}.</ref> and literary sources, such as ''[[Frankenstein]]''<ref name="Alessio">Alessio, Dominic "Redemption, 'Race', Religion, Reality and the Far-Right: Science Fiction Film Adaptations of Philip K. Dick" in {{harvnb\|Brooker\|pp=59–76}}</ref> and [[William Blake]].<ref>{{cite journal \|last1=Harley \|first1=Alexis \|title=America, a prophecy: when Blake meets ''Blade Runner'' \|journal=Sydney Studies in English \|date=December 24, 2020 \|volume=31 \|pages=61–75 \|url=https://search.informit.org/doi/abs/10.3316/ielapa.200601721 \|oclc=107741379 \|access-date=January 29, 2022 \|archive-date=February 10, 2024 \|archive-url=https://web.archive.org/web/20240210000145/https://search.informit.org/doi/abs/10.3316/ielapa.200601721 \|url-status=live }}</ref> Although Scott said any similarity was merely coincidental,{{sfn\|Sammon\|p=384}} fans claimed that the chess game between Sebastian and Tyrell was based on the famous [[Immortal Game]] of 1851.<ref>{{cite web \|last=Edwards \|first=Jacob \|title='A Most Unconvincing Replicant: Allegory and Intelligence in Blade Runner's Chess Game', by Jacob Edwards \|url=https://www.regencychess.co.uk/blog/2016/05/chess-in-film/ \|work=The Lifted Brow \|date=December 27, 2013 \|access-date=April 7, 2019 \|archive-url=https://web.archive.org/web/20190406231358/https://www.regencychess.co.uk/blog/2016/05/chess-in-film/ \|archive-date=April 6, 2019 \|url-status=live}}</ref> ''Blade Runner'' delves into the effects of technology on the environment and society by reaching to the past, using literature, [[religious symbolism]], classical dramatic themes, and ''film noir'' techniques. This tension between past, present, and future is represented in the "retrofitted" future depicted in the film, one which is high-tech and gleaming in places but decayed and outdated elsewhere. In an interview with ''[[The Observer]]'' in 2002, director Ridley Scott described the film as "extremely dark, both literally and metaphorically, with an oddly masochistic feel". He also said that he "liked the idea of exploring pain" in the wake of his brother's death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me."<ref name="scottobserver">{{citation \|last=Barber \|first=Lynn \|title=Scott's Corner \|date=January 6, 2002 \|url=http://film.guardian.co.uk/interview/interviewpages/0,,628186,00.html \|archive-url= https://web.archive.org/web/20080720054223/http://film.guardian.co.uk/interview/interviewpages/0%2C%2C628186%2C00.html \|url-status=dead \|work=[[The Observer]] \|location=London \|access-date=July 27, 2011 \|archive-date=July 20, 2008}}</ref> A sense of foreboding and paranoia pervades the world of the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored – especially regarding replicants' implanted memories. The film depicts a world post [[ecocide]], where warfare and capitalism have led to destruction of 'normal' ecological systems.<ref>{{citation \|last=Leaver \|first=Tama \|title=Post-Humanism and Ecocide in William Gibson's ''Neuromancer'' and Ridley Scott's ''Blade Runner'' \|url=http://project.cyberpunk.ru/idb/post-humanism_and_ecocide.html \|year=1997 \|access-date=July 27, 2011 \|archive-url=https://web.archive.org/web/20130703104841/http://project.cyberpunk.ru/idb/post-humanism_and_ecocide.html \|archive-date=July 3, 2013 \|via=The Cyberpunk Project}}{{self-published source\|date=February 2018}}</ref><ref>{{Cite book \|title=Avenging nature: the role of nature in modern and contemporary art and literature \|date=2020 \|publisher=Lexington Books \|isbn=978-1-79362-145-0 \|editor-last=Valls Oyarzun \|editor-first=Eduardo \|series=Ecocritical theory and practice \|location=Lanham Boulder NewYork London \|chapter=13 \|editor-last2=Gualberto Valverde \|editor-first2=Rebeca \|editor-last3=Malla García \|editor-first3=Noelia \|editor-last4=Colom Jiménez \|editor-first4=María \|editor-last5=Cordero Sánchez \|editor-first5=Rebeca}}</ref> Control over the environment is exercised on a vast scale, and goes hand in hand with the absence of any natural life; for example, artificial animals stand in for their extinct predecessors.<ref>{{Cite web \|title=Representations of Ecocide in Blade Runner and Neuromancer \|url=http://project.cyberpunk.ru/idb/post-humanism_and_ecocide.html \|access-date=June 21, 2023 \|website=project.cyberpunk.ru \|archive-date=July 3, 2013 \|archive-url=https://web.archive.org/web/20130703104841/http://project.cyberpunk.ru/idb/post-humanism_and_ecocide.html \|url-status=live }}</ref> This oppressive backdrop explains the frequently referenced migration of humans to "off-world" (extraterrestrial) colonies. Eyes are a recurring motif, as are manipulated images, calling into question the nature of reality and our ability to accurately perceive and remember it.{{sfn\|Bukatman\|p=9–11}}<ref>Heldreth, Leonard G. "The Cutting Edges of ''Blade Runner''" in {{Harvp\|Kerman\|1991\|p=44}}</ref> The film also consists of themes of Japan as a power, coming amid a time of [[~~Anti~~anti-Japanese sentiment in the United States]].<ref>{{Cite web \|last=Cheded \|first=Farah \|date=June 29, 2017 \|title=Quite an Experience to Live in Fear: An In-Depth Look at How the Anxieties that Inspired 'Blade Runner' Fare Today \|url=https://filmschoolrejects.com/blade-runner-anxieties-today/ \|access-date=February 13, 2024 \|website=Film School Rejects \|language=en-US}}</ref> These thematic elements provide an atmosphere of uncertainty for ''Blade Runner''{{'}}s central theme of examining humanity. In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animals – seemingly an essential indicator of one's "humanity". Replicants will not respond the same way humans would, showing a lack of concern. The film goes so far as to question if Deckard might be a replicant, in the process asking the audience to re-evaluate what it means to be human.<ref>Gwaltney, Marilyn. "Androids as a Device for Reflection on Personhood" in {{Harvp\|Kerman\|1991\|p=32–39}}</ref> Line 317: {{See also\|Tears in rain monologue}} [[File:Blade Runner spinner flyby.png\|thumb\|alt=Screenshot of a police spinner flying through a cityscape next to a large building which has a huge face projected onto it. In the distance a screen can be seen with writing and pictures on it\|A police spinner flying beside enormous skyscrapers, some with electronic billboards on them. Special effects such as these were benchmarks and have been highly influential on the esthetics of subsequent sci-fi ~~movies~~films.]] [[File:Tesla Cybertruck outside unveil modified by Smnt.jpg\|thumb\|Tesla's Cybertruck was heavily inspired by ''Blade Runner''.]] While not initially a success with North American audiences, ''Blade Runner'' was popular internationally and garnered a [[cult following]].{{sfn\|Sammon\|p=318–329}} The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, [[video game]]s, [[anime]], and television programs.<ref name="Barlow" /> Its influence has also extended beyond the science fiction genre, especially in the creation of cinematic worlds. For example, [[Denis Villeneuve]], [[Christopher Nolan]], [[Guillermo del Toro]], [[Gareth Edwards (director)\|Gareth Edwards]],<ref name=":1">Total Film, Issue 343, November 2023</ref> [[Rian Johnson]],<ref>{{cite web \| url=https://www.youtube.com/watch?v=P93l1aBwLH8 \| title=Rian Johnson on Looper: Plot, Influences, and Sequel Potential \| website=[[YouTube]] \| date=October 2012 }}</ref> [[Ronald D. Moore]] and [[David Eick]],<ref>{{cite interview \|last=Moore \|first=Ronald D. \|subject-link=Ronald D. Moore ~~\|last2=Eick \|first2=David \|subject-link2=David Eick~~ \|interviewer=Daniel Solove, Deven Desai and David Hoffman \|title=''Battlestar Galactica'' Interview \|last2=Eick \|first2=David \|url=http://www.concurringopinions.com/archives/2008/03/battlestar_gala_5.html ~~\|work=Concurring Opinions \|date=February 21, 2008~~ \|access-date=October 3, 2011 \|archive-url= https://web.archive.org/web/20111101202913/http://www.concurringopinions.com/archives/2008/03/battlestar_gala_5.html \|archive-date=November 1, 2011 \|url-status=dead~~}}</ref>~~ ~~[[Denis~~\|work=Concurring ~~Villeneuve]],~~Opinions ~~[[Christopher~~\|date=February ~~Nolan]]~~21, ~~and~~2008 ~~[[Guillermo~~\|subject-link2=David ~~del Toro]]~~Eick}}</ref> have all cited it as an influence.<ref name=vanity/><ref>{{cite web \|url=https://www.forbes.com/sites/markhughes/2015/07/30/exclusive-christopher-nolan-talks-batman-begins-10th-anniversary/ \|title=Exclusive: Christopher Nolan Talks 'Batman Begins' 10th Anniversary \|work=Forbes \|last=Hughes \|first=Mark \|date=July 30, 2015 \|access-date=August 9, 2024}}</ref><ref>{{cite web \|url=https://www.indiewire.com/gallery/denis-villeneuve-favorite-movies/mcdtene-wb006/ \|title=Denis Villeneuve's Favorite Movies: 29 Films the Director Wants You to See \|work=IndieWire \|last1=Sharf \|first1=Zac \|last2=Foreman \|first2=Alison \|last3=Zilko \|first3=Christian \|date=February 26, 2023 \|access-date=August 9, 2024}}</ref> Nolan notes that he has seen ''Blade Runner'' "literally hundreds of times",<ref name=":1" /> while del Toro describes it as "one of those cinematic drugs, that when I first saw it, I never saw the world the same way again."<ref>{{cite web \| url=https://www.indiewire.com/features/craft/blade-runner-influence-cyberpunk-sci-fi-ridley-scott-1201883053 \| title=How Ridley Scott's 'Blade Runner' Changed the Look of Cinematic Sci-Fi Forever \| date=October 3, 2017 }}</ref> The film was selected for preservation in the United States [[National Film Registry]] in 1993 and is frequently taught in university courses.<ref>{{citation \|title=Aren't We All Just Replicants on the Inside? \|date=October 2, 2007 \|url=http://www.nysun.com/article/63805 \|last=Rapold \|first=Nicolas \|archive-url= https://web.archive.org/web/20080905003256/http://www.nysun.com/article/63805 \|work=The New York Sun \|access-date=July 27, 2011 \|archive-date=September 5, 2008}}</ref><ref>{{Cite journal \|title=Librarian Announces National Film Registry Selections \|date=March 7, 1994 \|journal=Library of Congress Information Bulletin \|url=https://www.loc.gov/loc/lcib/94/9405/film.html\|access-date=May 20, 2020\|archive-date=March 8, 2021\|archive-url=https://web.archive.org/web/20210308154357/https://www.loc.gov/loc/lcib/94/9405/film.html\|url-status=live}}</ref><ref>{{Cite web \|title=Complete National Film Registry Listing \|website=Film Registry {{!}} National Film Preservation Board {{!}} Programs at the Library of Congress {{!}} Library of Congress\|url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\|access-date=May 20, 2020\|archive-date=October 31, 2016\|archive-url=https://web.archive.org/web/20161031213743/https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\|url-status=live}}</ref> In 2007, it was named the second-most visually influential film of all time by the [[Visual Effects Society]].<ref>{{citation \|title=The Visual Effects Society Unveils '50 Most Influential Visual Effects Films of All Time' \|url=http://www.visualeffectssociety.com/system/files/15/files/ves50revelfin.pdf \|archive-url= https://web.archive.org/web/20120604101515/http://www.visualeffectssociety.com/system/files/15/files/ves50revelfin.pdf \|publisher=Visual Effects Society \|access-date=July 27, 2011 \|archive-date=June 4, 2012}}</ref> The film has also been the subject of parody, such as the comics ''Blade Bummer'' by ''[[Crazy (magazine)\|Crazy]]'' comics,<ref>{{citation \|title=Crazy: ''Blade Runner'' Parody \|url=http://media.bladezone.com/contents/publications/magazines/crazy \|last=Kissell \|first=Gerry \|archive-url= https://web.archive.org/web/20140428173626/http://media.bladezone.com/contents/publications/magazines/crazy/ \|work=BladeZone \|access-date=July 27, 2011 \|archive-date=April 28, 2014}}</ref> ''Bad Rubber'' by [[Steve Gallacci]],<ref>{{citation \|title=''Albedo'' #0 \|work=[[Grand Comics Database]] Project \|url=http://www.comics.org/issue/37533/#218913 \|last=Gallacci \|first=Steven A. \|archive-url= https://web.archive.org/web/20140406234202/http://www.comics.org/issue/37533/ \|at="Bad Rubber" section \|access-date=July 27, 2011 \|archive-date=April 6, 2014}}</ref> and the ''[[Red Dwarf]]'' 2009 three-part miniseries "[[Red Dwarf: Back to Earth\|Back to Earth]]".<ref>{{citation \|title=''Red Dwarf: Back To Earth'' – This Weekend's Essential Viewing – NME Video Blog \|url=https://www.nme.com/blog/index.php?blog=121&title=red_dwarf_back_to_earth_this_weekend_s_e_1&more=1&c=1&tb=1&pb=1 \|last=Howard \|first=Rob \|archive-url= https://web.archive.org/web/20121011201714/http://www.nme.com/blog/index.php?blog=121&title=red_dwarf_back_to_earth_this_weekend_s_e_1&more=1&c=1&tb=1&pb=1 \|work=[[NME]] \|access-date=July 27, 2011 \|archive-date=October 11, 2012}}</ref><ref>{{citation \|title=''Red Dwarf: Back to Earth'' – Director's Cut DVD 2009: Amazon.co.uk: Craig Charles, Danny John-Jules, Chris Barrie, Robert Llewellyn, Doug Naylor: DVD \|url=https://www.amazon.co.uk/Red-Dwarf-Back-Earth-DVD/dp/B001UHO102 \|url-status=live \|archive-url= https://web.archive.org/web/20090614131802/http://www.amazon.co.uk/Red-Dwarf-Back-Earth-DVD/dp/B001UHO102 \|archive-date=June 14, 2009 \|access-date=July 27, 2011 \|date=June 15, 2009}}</ref> The anime series ''[[Psycho-Pass]]'' by [[Production I.G]] was also highly influenced by the ~~movie~~film.<ref name="panel">{{cite news \|url=https://www.animenewsnetwork.com/convention/2013/sakura-con/5 \|title=Directors's Panel with Katsuyuki Motohiro, Naoyoshi Shiotani, and Atsuko Ishizuka \|date=March 30, 2013 \|access-date=December 30, 2013 \|work=[[Anime News Network]] \|url-status=live \|archive-url=https://web.archive.org/web/20131231145932/http://www.animenewsnetwork.com/convention/2013/sakura-con/5 \|archive-date=December 31, 2013}}</ref> ''Blade Runner'' continues to reflect modern trends and concerns, and an increasing number of critics consider it one of the greatest science fiction films of all time.<ref>{{citation \|last1=Jha \|first1=Alok \|last2=Rogers \|first2=Simon \|last3=Rutherford \|first3=Adam \|date=August 26, 2004 \|access-date=July 27, 2011 \|url=https://www.theguardian.com/life/feature/story/0,13026,1290561,00.html \|title='I've seen things...': Our expert panel votes for the top 10 sci-fi films \|newspaper=[[The Guardian]] \|location=London \|archive-url= https://web.archive.org/web/20070513161801/http://www.guardian.co.uk/life/feature/story/0%2C13026%2C1290561%2C00.html \|archive-date=May 13, 2007 \|url-status=dead}}</ref> It was voted the best science fiction film ever made in a 2004 poll of 60 eminent world scientists.<ref>{{citation \|url=http://news.bbc.co.uk/1/hi/entertainment/3600802.stm \|title=''Blade Runner'' tops scientist poll \|work=BBC News \|date=August 26, 2004 \|access-date=September 22, 2012 \|url-status=live \|archive-url= https://web.archive.org/web/20140513202114/http://news.bbc.co.uk/1/hi/entertainment/3600802.stm \|archive-date=May 13, 2014}}</ref> ''Blade Runner'' is also cited as an important influence to both the style and story of the ''[[Ghost in the Shell]]'' franchise, which itself has been highly influential to the future-noir genre.<ref>{{citation \|title=''Ghost in the Shell 2: Innocence'' \|first=Jim \|last=Omura \|date=September 16, 2004 \|work=[[FPS Magazine]] \|url=http://www.fpsmagazine.com/review/040916innocence.php \|access-date=July 27, 2011 \|archive-url= https://web.archive.org/web/20131029193102/http://www.fpsmagazine.com/review/040916innocence.php \|archive-date=October 29, 2013}}</ref><ref>{{citation \|title=Hollywood is haunted by ''Ghost in the Shell'' \|first=Steve \|last=Rose \|newspaper=The Guardian \|date=October 19, 2009 \|url=https://www.theguardian.com/film/2009/oct/19/hollywood-ghost-in-the-shell \|access-date=July 27, 2011 \|archive-url= https://web.archive.org/web/20130308101232/http://www.guardian.co.uk/film/2009/oct/19/hollywood-ghost-in-the-shell \|archive-date=March 8, 2013}}</ref> ''Blade Runner'' has been very influential to the [[cyberpunk]] movement.<ref>{{cite book \|last1=Coplan \|first1=Amy \|last2=Davies \|first2=David \|title=''Blade Runner'' \|date=2015 \|publisher=Routledge \|isbn=978-1-136-23144-5 \|url=https://books.google.com/books?id=XOMjCQAAQBAJ&pg=PT20 \|access-date=July 13, 2017 \|archive-url=https://web.archive.org/web/20180225131828/https://books.google.com/books?id=XOMjCQAAQBAJ&pg=PT20 \|archive-date=February 25, 2018 \|url-status=live}}</ref><ref>{{cite book \|last=Booker \|first=M. Keith \|title=Alternate Americas: Science Fiction Film and American Culture \|date=2006 \|publisher=Greenwood Publishing Group \|isbn=978-0-275-98395-6 \|url=https://books.google.com/books?id=CVvb6gfT4o4C&pg=PA185 \|access-date=July 13, 2017 \|archive-url=https://web.archive.org/web/20180226180206/https://books.google.com/books?id=CVvb6gfT4o4C&pg=PA185 \|archive-date=February 26, 2018 \|url-status=live}}</ref><ref>{{cite book \|last=Milner \|first=Andrew \|title=Literature, Culture and Society \|date=2005 \|publisher=Psychology Press \|isbn=978-0-415-30785-7 \|url=https://books.google.com/books?id=rOmYospPvfwC&pg=PA266 \|access-date=July 13, 2017 \|archive-url=https://web.archive.org/web/20180225131828/https://books.google.com/books?id=rOmYospPvfwC&pg=PA266 \|archive-date=February 25, 2018 \|url-status=live}}</ref><ref>{{cite book \|last=Brown \|first=Steven T. \|title=Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture \|date=2016 \|publisher=Springer \|isbn=978-0-230-11006-9 \|url=https://books.google.com/books?id=W_0YDAAAQBAJ&pg=PT10 \|access-date=July 13, 2017 \|archive-url=https://web.archive.org/web/20180225131828/https://books.google.com/books?id=W_0YDAAAQBAJ&pg=PT10 \|archive-date=February 25, 2018 \|url-status=live}}</ref> It also influenced the [[Cyberpunk derivatives\|cyberpunk derivative]] [[biopunk]], which revolves around [[biotechnology]] and [[genetic engineering]].<ref name="scifi">{{cite web \|last=Evans \|first=Josh \|title=What Is Biopunk? \|url=http://sciencefiction.com/2011/09/18/what-is-biopunk/ \|access-date=June 20, 2015 \|date=September 18, 2011 \|work=ScienceFiction.com \|archive-url=https://web.archive.org/web/20150602151222/http://sciencefiction.com/2011/09/18/what-is-biopunk/ \|archive-date=June 2, 2015 \|url-status=live}}</ref><ref>{{cite book \|last=Wohlsen \|first=Marcus \|title=Biopunk: Solving Biotech's Biggest Problems in Kitchens and Garages \|publisher=[[Current Publishing]] \|date=2011 \|url=https://books.google.com/books?id=bpptCOi3G_AC&pg=PT15 \|isbn=978-1-61723-002-8 \|access-date=August 24, 2017 \|archive-date=October 20, 2021 \|archive-url=https://web.archive.org/web/20211020232507/https://books.google.com/books?id=bpptCOi3G_AC&pg=PT15 \|url-status=live}}</ref> The film is also considered to be one of the early examples of the [[tech noir]]<ref name="sherlock">{{cite web \|url=https://gamerant.com/80s-movie-invented-tech-noir/ \|title=One Movie Both Invented and Perfected the Tech Noir \|work=[[Game Rant]] \|first=Ben \|last=Sherlock \|date=February 21, 2021 \|access-date=November 4, 2023 \|archive-date=August 26, 2022 \|archive-url=https://web.archive.org/web/20220826044939/https://gamerant.com/80s-movie-invented-tech-noir/ \|url-status=live }}</ref> subgenre. Line 494: * [[Arcology]] * [[Biorobotics]] * [[List of adaptations of works by Philip K. Dick]] * [[List of dystopian films]] * [[List of fictional robots and androids]] Line 535 ⟶ 536: {{David Peoples}} {{Hugo Award for Best Dramatic Presentation}} {{Seiun Award - Best Media}} {{Portal bar\|Film\|Greater Los Angeles\|Science fiction}} {{Authority control}} Line 572 ⟶ 574: [[Category:Hong Kong neo-noir films]] [[Category:Hong Kong science fiction films]] [[Category:Hugo Award for Best Dramatic ~~Presentation winning~~Presentation–winning works]] [[Category:Postmodern films]] [[Category:Shaw Brothers Studio films]] Line 582 ⟶ 584: [[Category:1980s American films]] [[Category:1980s Hong Kong films]] [[Category:Saturn Award–winning films]] [[Category:English-language science fiction films]] [[Category:English-language action thriller films]]