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With view in Eineerfreuliche future, genre of science fiction has seldom been satisfied. As a rule, one uses a controlled apocalyptic worldview: it has to get worse before it may be better later again. As far as form of society is concerned, science-fiction amliebsten has used variations of two classics from previous century: Beautiful New World of Aldous Huxley (people are made submissive by drugs and convenience) and 1984 (The total Surveillance and terror state captures people into privacy and into DieSprache. Our reality, at present, is a pretty perfekteMischung of both. And we are accustomed to our beautiful new Smarthome, Bespaßungs and information warfare world. To see true horror of a allseitssedierten surveillance society with terror and decay at AllenEcken and ends, however, we have to go to cinema. In science fiction movies. Because science fiction films never tell of future, but always of present.
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1982, just before MagischenDatum, told Ridley Scott in his movie Blade Runner after novel VonPhilip K. dick with beautiful title Dreaming androids of ElektrischenSchafen? From a world which, on one hand, had fallen into a wimmelndes, endless unduniversales ghetto and a metropolishafte tower of mighty UndWissenden, and on or hand artificial people, “replicants”, “real” man’s dirty Work (on Colonised Planet example). It was, in or words, a new form of Sklavereientstanden, whose sacrifices were also verpassthatte a limited lifespan. A powerful scientist/entrepreneur/Far God named Tyrell is behind this parallel creation, which absehbarerweisenicht one hundred percent control. Against rebellion of VonReplikanten, against escape, rebellion and against yearning to live like real people, one sent out special policemen/detectives/hunters, just Blade Runner. They hunt and eliminate known slaves.
One of hunters, a certain Rick Deckard (played by Harrison Ford), who could take AnHeruntergekommenheit, cynicism and hidden romance with every schäbigenDetektiv of film noir, loses himself in moral, erotic and political swamp of this new World (UN) Order and in DemGrund’s sentence of his namesake: “I think so I am.” But in this (our) world one is better off with being without consciousness (Huxley), and begins to think, will soon be no more (Orwell). In end, when DieReplikanten reached ir creator and made a speech, and BladeRunner his last fight wins or loses, as one takes, question, who is original and who is image, is no longer exactly answerable anyway. That Rick Deckard himself is a replicant, that’s eineBesserwisser solution. What really matters: doubt.
Science Fiction Noir
Blade Runner was only a moderate success at time, but gradually developed into a true cult. Toger with Scott’s or great SF film Alien, Dersozusagen backwards, to origin of evolution, recounted what Blade Runner was doing forward, to catastrophic end, a Neugeburteines until n was mainly eir pretty childish or Aberformelhaften Genres succeeded: “Science-fiction noir” tells of a future in which things do not shine “futuristic”, but are worn undmissbraucht, as in real life, and in which protagonists are neir heroes nor sacrifices, but “normal” subjects of capital and Labor. In contrast to Stanley Kubrick’s unique works 2001 and Clockwork Orange, Ridley Scotts dystopian sci-fi films were able to connect Undfortsetzbar, not least because it was always also ingredients-cinema, camera, décors, light, figure of Monster in Alien, The Allgegenwärtigkeitelektronischer advertising images in public space at Blade Runner, music. All of this had its own value and could, individually or collectively, provide foundations for an intelligent, antikolonialistisches and critical future of our present beyond Star Trek and Star Wars.
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The decisive factor of this cinematographic construction of future was that and had been learned by Philip K. dick, art Spiegelman has called a NeuenKafka for twentieth century, that most egregious from greatest normality developed and Gray not from a dramatischenEreignis, but from habituation of conditions arose. Monster UndReplikanten in sci-fi noir are nothing but images of einesunglücklichen consciousness, and both, parasitic primordial nature of cosmos and desperately rebellious parallel creation, owe ir appearance to non-sanderm as profit seeking Of capitalism, which at that time, in Eighties, began to lose its social mask.
