The Voight-Kampff Test
The Voight-Kampff test is a fictional polygraph-style interrogation in the Blade Runner universe, used by "blade runners" to distinguish humans from bioengineered humanoids called replicants.
The Scraps Index
Blade Runner
34 articles
Ennis House and Its Iconic Role in “Blade Runner”
The Ennis House, a residential dwelling in the Los Feliz neighborhood of Los Angeles, California, is a masterpiece designed by the legendary architect Frank…
Blade Runner – Review by Stanley Kauffmann
To enjoy Blade Runner, you need only disregard, as far as possible, the actors and dialogue. (And the score) The script is another reworking…
Blade Runner (1982): A MIX of Banality and Brilliance
Slovenly plotting and characterization, but consistently fascinating detail: exploitative violence and humanistic regrets: shallow formulas and philosophical questioning—this is the mix of banality and…
Blade Runner (1982) – Interview with Syd Mead [Fantastic Films Magazine]
In this interview West Coast editors Blake Mitchell and Jim Ferguson talked to Syd about his career past and present, and specifically his involvement…
Blade Runner and Genre: Film Noir and Science Fiction – By Susan Doll and Greg Faller
Doll and Faller assert that Ridley Scott's film, Blade Runner, exhibits elements of two distinct pulp genres, film noir and science fiction. The genre…
Ridley Scott’s Blade Runner: The Making of a Sci-Fi Classic
Interviews with screenwriters Hampton Fancher and David Peoples, industrial designer Syd Mead, production designer Lawrence C. Paull and director Ridley Scott. Articles & Interviews…
The Sacred and the Profane: Examining the Religious Subtext of Ridley Scott’s ‘Blade Runner’
Ridley Scott's film "Blade Runner" is rooted in the myths and legends of Western culture and draws on a number of genres including film…
Blade Runner (1982): Special Photographic Effects [American Cinematographer]
Excerpts from an interview with David Dryer, one of three special photographic effects supervisors for Blade Runner along with Douglas Trumbull and Richard Yuricich
Blade Runner (1982): Production Design and Photography [American Cinematographer]
“Films usually attempt to do the future by presenting a rather bleak, pristine, austere, clean look. It could go that way, but I’ve got…
Interview with Producer Alan Ladd, Jr. [Starlog]
At last, a studio executive who believes in science fiction. Starlog magazine interviews Alan Ladd, Jr.
Blade Runner and Cyberpunk Visions of Humanity
Ridley Scott's 1982 film 'Blade Runner' appeared just before William Gibson's quintessential cyberpunk novel 'Neuromancer' was published in 1984, and the two share enough…
“Blade Runner” and the Postmodern: A Reconsideration
The article discusses the contradiction between the two versions of the film, Blade Runner, directed by Ridley Scott.
Ma gli androidi sognano pecore elettroniche? – Saggio di Gabriele Frasca
Se gli androidi di Dick sono stupidamente malvagi come vuole il loro programma, non diversamente vanno le cose per i pochi esseri umani che…
Futurecop: The Neutralization of Revolt in ‘Blade Runner’
Both in what it shows and in what is absent from it, Blade Runner (1982) deviates in morally significant ways from the 1968 novel…
Philip K. Dick’s Androids: Victimized Victimizers
Late in his career, in the essay “Man, Android and Machine,’’ Philip K. Dick said the android is "a thing somehow generated to deceive…
Blade Runner: What It Means to Be Humans in the Cybernetic State
One of the big questions in Blade Runner is "What does it mean to be Human?" John W. Whitehead has a look at this…
Blade Runner (1982) – Review by Norman Spinrad [Starlog]
Blade Runner (1982), review by Norman Spinrad for Starlog magazine, November 1982 Issue
Blade Runner (1982): Interview with Co-Writer Hampton Fancher
Hampton Fancher believes 'Blade Runner', at its heart, is a love story between Rick Deckard and Rachael.
The Dystopian World of ‘Blade Runner’: An Ecofeminist Perspective
Essay about an ecofeminist perspective of Ridley Scott's Blade Runner
Blade Runner (1982): Why Does Roy Batty Save Deckard from Falling?
At the end of Blade Runner, why does Roy Batty catch Deckard as he is about to fall?
Blade Runner: The Final Cut
Scott's definitive Blade Runner: The Final Cut was released by Warner Bros. on October 5, 2007. This is the only version over which Scott…
Blade Runner – Review by Michael Dempsey [Film Quarterly]
by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known…
Blade Runner’s Moving Still
In the decade that has elapsed since Blade Runner's first commercial release, Ridley Scott’s 1982 science-fiction film has been retroactively hailed as one of…
Blade Runner: Science Fiction & Transcendence
The essay by David Desser discusses the film's connections to the Bible, Milton's Paradise Lost and Mary Shelley's Frankenstein.
Ideology as Dystopia: An Interpretation of ‘Blade Runner’
Unlike the vast majority of films in the science fiction genre, 'Blade Runner' refuses to neutralize the most abhorrent tendencies of our age and…
Blade Runner: 21st Century Nervous Breakdown. Interview with Ridley Scott
by Harlan Kennedy Do Androids dream of electric sheep? Do Northumbrians dream of eclectic myths? Every so often the British cinema hatches a mold-busting…
Futuristic ‘Blade Runner’ – Review by Janet Maslin
The view of the future offered by Ridley Scott's muddled yet mesmerizing 'Blade Runner' is as intricately detailed as anything a science-fiction film has…
Blade Runner and Sartre: The Boundaries of Humanity
Blade Runner (Ridley Scott, 1982) combines film noir and science fiction to tell a story that questions what it means to be human
Blade runner: Recensione di giovanni grazzini
Uno dei più clamorosi film di fantascienza che si siano visti negli ultimi anni, una delle più sgomentevoli profezie sull'imminente medioevo, uno dei frutti…