Ridley Scott s 1982 film Blade Runner is now widely recognised as an undisputed masterwork of science fiction cinema and one of the most influential films released in the last forty years. Yet on its original release it was both a critical and commercial failure, criticised for its perceived prioritising of style over content and a narrative that did not deliver the anticipated high octane action that its star casting and large budget normally promise. How did a film that was removed from circulation within a month of its premiere come to mean so much to modern audiences and provide such a rich seam of material for Film and Media Studies? Sean Redmond uses the key concepts of Media and Film Studies Film Language, Representation, Institutions and Audiences to excavate the many significances of the film its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director s Cut form, then further revised in a Final Cut in 2007, and what this means in an Institutional context. (PLEASE NOTE: This volume was previously published as 'Studying Blade Runner' in 2008.)
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Sean Redmond is an Associate Professor in Media And Communication at Deakin University, Australia. He convenes the Melbourne-based Eye Tracking and the Moving Image Research group, and the Science Fiction Research group at Deakin University. He has published ten books, including A Companion to Celebrity (2015), The AFI Film Reader: Endangering Science Fiction Film (2015), Celebrity and the Media (2014), and The Cinema of Takeshi Kitano: Flowering Blood (2013).
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