Blade Runner: A Selective Bibliography of Materials in the UC Berkeley Libraries

Blade Runner (motion picture):
A Selective Bibliography of Materials in the UC Berkeley Library

Books & Articles
Abbott J.: "The Monster Reconsidered - 'Blade Runner' Replicant As Romantic Hero." Extrapolation, 1993 Winter, V34 N4:340-350.
Albrecht, Donald.: "'Blade Runner' cuts deep into American culture." (motion picture) New York Times v142, sec2 (Sun, Sept 20, 1992):H19(N), H19(L), col 1, 20 col in.
Barad, Judith: "Blade runner and Sartre : the boundaries of humanity." In: The philosophy of neo-noir / edited by Mark T. Conard. Lexington, Ky. : University Press of Kentucky, c2007.; --Main Stack PN1995.9.F54.P56 2007
Barns, Ian.: "The Human Genome Project and the Self." Soundings: An Interdisciplinary Journal, 1994 Spring-Summer, 77:1-2, 99-128.
Battaglia, D.: "Multiplicities: An anthropologist's thoughts on replicants and clones in popular film." Critical Inquiry 27 (3): 493-514 SPR 2001
Beard, John.: "Science fiction films of the eighties: fin de siecle before its time."(depiction of the future in motion pictures) Journal of Popular Culture v32, n1 (Summer, 1998):1 (1 page).; "Visions of the future are depicted in the science fiction films of the 1980s. The film 'Escape from New York' shows a city that has turned into a wasteland while the movie 'Blade Runner' portrays the city of Los Angeles, CA, to be a dying and diseased city. Both ways, the future is depicted as dark and decaying. Other films have followed which do not match the quality of the two movies but the trend is expected to continue toward a similar future." [Magazine Index]
Begley, Varun.: "Blade Runner and the Postmodern: A Reconsideration." Literature/Film Quarterly. 32 (3): 186-92. 2004.; "The two versions of Ridley Scott's 'Blade Runner' reflect the diverse and divided critical responses to the film. The theologies of interpretation evident in criticism of 'Blade Runner' particularly its problematic encounter with postmodernism are explored." [Expanded Academic Index]
Benjamin, A.: "At Home With Replicants, The Architecture Of 'Blade Runner'" Architectural Design, 1994, N112:22-25.; "Part of a special section on architecture and motion pictures. The writer discusses the interplay of film and architecture in Ridley Scott's Blade Runner. The chronological setting of the movie, its urban location, and the presence of replicants--an advanced form of robot--connect history, in the form of the future; architecture, in the form of Los Angeles and its urban environment; and the body, for example, in terms of the necessity to distinguish between replicant and human. The importance of this movie is that it allows a way of tracing a specific formation of these three elements, raising questions about the future and how it will be built." [Art Abstracts]
"Blade Runner.": In: Science fiction filmmaking in the 1980s : interviews with actors, directors, producers, and writers / by Lee Goldberg ... [et al.]; with a foreword by David McDonnell. Jefferson, N.C. : McFarland & Co.,; --Moffitt PN1995.9.S26 S295 1995
The Blade runner experience : the legacy of a science fiction classic: Edited by Will Brooker. London ; New York : Wallflower, 2005.; --MAIN: PN1997.B283 B53 2005; --PFA : PN1997.B53 B52 2005; Introduction : 2019 ; The Blade runner experience : pilgrimage and liminal space / Will Brooker -- Post-millennium Blade runner / Judith B. Kerman -- Section 1. The cinema of Philip K. Dick -- Reel toads and imaginary cities : Philip K. Dick, Blade runner and the contemporary science fiction movie / Aaron Barlow -- Redemption, 'race', religion, reality and the far-right : science fiction film adaptations of Philip K. Dick -- Section 2. Playing Blade runner -- Replicating the Blade runner / Barry Atkins -- Implanted memories, or the illusion of free action / Susana P. Tosca -- Section 3. Fans -- Scanning the replicant text / Jonathan Gray -- Academic textual poachers : Blade runner as cult canonical movie / Matt Hills -- Originals and copies : the fans of Philip K. Dick, Blade runner and K.W. Jeter / Christy Gray -- Section 4. Identities -- The Rachel papers : in search of Blade runner's femme fatale / Deborah Jermyn -- Purge! Class pathology in Blade runner / Sean Redmond -- Postmodern romance : the impossibility of (de)centring the self / Nick Lacey -- Part 5. The city -- False LA : Blade runner and the nightmare city / Stephen Rowley -- Imagining the real : Blade runner and discourses on the postmetropolis / Peter Brooker.
Bleecker, Julian: "Urban Crisis: Past, Present, and Virtual." Socialist Review, 1995, 24, 1-2, 189-221; "Examines the relations between the new technologies of virtual reality & racial politics. Visions of the future depicted in such films as Blade Runner, the Mad Max series, & Demolition Man have replicated imnages of black otherness & difference, often associating them with subalternate social identities or Third World/dystopian conditions. In contrast, virtual reality software, eg, Sim City 2000 & Reality Engine, eliminate the category of race in their operations. Sim City 2000, a simulation game where the objective is to successfully act as administrator for an urban utopia, is analyzed as a raceless space of experience. It is suggested that by not directly acknowledging issues of race, enough colluding representations exist in the game to elicit the use of racial categories when participating. It is concluded that the game fails to recognize struggles for racial justice while still presenting a realistic simulation of an urban area that elicits racial hierarchies within the user." [Sociological Abstracts]
Booker, M. Keith.: "Blade Runner." In: Alternate Americas : science fiction film and American culture / M. Keith Booker. Westport, Conn. : Praeger, 2006.; --Main Stack PN1995.9.S26.B56 2006; --Table of contents http://www.loc.gov/catdir/toc/ecip063/2005032303.html
Brooker, Will.: "Internet Fandom and the Continuing Narratives of Star Wars, Blade Runner and Alien." In: Alien zone II : the spaces of science-fiction cinema / edited by Annette Kuhn. pp: 50-72. London ; New York : Verso, 1999.; --Main Stack PN1995.9.S26.A8184 1999
Brooks, Christopher K.: "'More Human Than Human': In Search of the Human Condition." Journal of American Culture vol. 11 no. 4. 1988 Winter. pp: 65-71.
Bruno, Giuliana: "Ramble City: Postmodernism and Blade Runner." October 41 (1987:Summer) 61; UC users only
Bukatman, Scott: Blade Runner / Scott Bukatman. London: British Film Institute, 1997. BFI modern classics; --Main Stack PN1997.B633.B8 1997
Bukatman, Scott: "Fractal geographies." (comments on the movie Blade Runner) (Film) Artforum v31, n4 (Dec, 1992):6 (2 pages).; Most science fiction films are said to be centered more on vision than other genres. This reference to vision is embodied in Ridley Scott's Blade Runner, where the film presents an Eyeworld and a huge disebodied eye in some of its scenes. Visual design was done by Lawrence Pauli and Syd Mead and was derived from the art style of Heavy Metal magazine. Special effects were supervised by Douglas Trubull and are described as profoundly contemplative and reflexive, reflecting the films as a technological marvel of vision.
Bullaro, Grace Russo.: "Blade Runner: The Subversion and Redefinition of Categories." Riverside Quarterly vol. 9 no. 2. 1993 Aug. pp: 102-08.
Byers, Thomas B.: "Commodity Futures: Corporate State and Personal Style in Three Recent Science-Fiction Movies." Science-Fiction Studies vol. 14 (3) no. 43. 1987 Nov. pp: 326-339.
Byers, Thomas B.: "Kissing Becky: Masculine Fears and Misogynist Moments in Science Fiction Films." Arizona Quarterly: A Journal of American Literature, Culture, and Theory vol. 45 no. 3. 1989 Autumn. pp: 77-95.
Carr, Brian.: "At the Thresholds of the 'Human': Race, Psychoanalysis, and the Replication of Imperial Memory." Cultural Critique, 1998 Spring, 39, 119-50.
Casimir, V.: "Data and Dick's Deckard: Cyborg as Problematic Signifier" (`Do Androids Dream of Electric Sheep', `Blade Runner', `Star Trek') Extrapolations, 1997 Winter, V38 N4:278-291.
Chevrier, Yves.: "Blade Runner: or, the Sociology of Anticipation." Science-Fiction Studies vol. 11 no. 1 (32). 1984 Mar. pp: 50-60.
Cifuentes, D: "'Blade Runner', or, Theseus' struggle with the Minotaur." Pensamiento 54 (210): 449-456 SEP-DEC 1998
Collins, Glenn.: "Film: 'Blade Runner,' grisly sadism and cruelty." New York Times v131 (Wed, June 30, 1982):21(N), C19(L), col 1, 33 col in.
Crary, J.: "Blade Runner." Artforum International v. 41 no. 7 (March 2003) p. 123
Crogan, Patrick: "Blade Runners: Speculations on Narrative and Interactivity." South Atlantic Quarterly. 101(3):639-57. 2002 Summer
Crooks, Robert: "Retro noir, Future noir: Body Heat, Blade Runner, and Neo-Conservative Paranoia." Film and Philosophy. 1994; 1: 105-110
Cupitt, Cathy: "Eyeballing the Simulacra: Desire and Vision in Blade Runner."
Dalton, Jennifer.: "Chasing replicants at home: the armchair Blade Runner." (Review) (audio-visual reviews) Performing Arts Journal, n60 (Sept, 1998):118 (4 pages).
Davis, Mike: Beyond Blade runner : urban control, the ecology of fear Westfield, N.J. (PO Box 2726, Westfield NJ 07091) : Open Media, c1992.; --ENVI: F869.L89 B49 1994; --BANC: \pf\ F869.L89 B49 1992
Davis, Mike: Ecology of fear : Los Angeles and the imagination of disaster New York : Metropolitan Books, 1998.; --EART: HN80.L7 D37 1998; --ENVI: HN80.L7 D37 1998; --MAIN: HN80.L7 D37 1998; --MOFF: HN80.L7 D37 1998; --BANC: HN80.L7 D37 1998;
Desser, David: "Blade Runner: Science Fiction and Transcendence." Literature/Film Quarterly 13.3 (1985):172-9.; Discusses the film's connections to the Bible, Milton's Paradise Lost and Mary Shelley's Frankenstein.
Desser, David: "Race, Space and Class: The Politics of Cityscapes in Science-Fiction Films." In: Alien zone II : the spaces of science-fiction cinema / edited by Annette Kuhn. London ; New York : Verso, 1999.; --Main Stack PN1995.9.S26.A8184 1999
Deutelbaum, Marshall.: "Memory/Visual Design: The Remembered Sights of Blade Runner." Literature-Film Quarterly v17, n1 (Jan, 1989):66 (7 pages).
Doll, Susan.: "Blade Runner and Genre: Film Noir and Science Fiction." Literature/ Film Quarter, vol. 14 no. 2. 1986. pp: 89-100.
Dresser, David: ""Blade Runner": Science Fiction and Transcendence." Literature/Film Quarterly 13:3 (1985) 172
Dryer, David: "Blade Runner: special photographic effects; excerpts from an interview with excerpts from an interview with David Dryer." American Cinematographer v 63 July 1982. p. 692-3+
"Films foretell the future." American Cinematographer v 80 no12 Dec 1999. p. 36-7: "Jeb Brody of the American Museum of the Moving Image in New York has programmed an insightful array of films featuring a variety of fatalistic post-millennial milieus to welcome the year 2000. Films to be screened include Fritz Lang's Metropolis, Ridley Scott's Blade Runner, William Cameron Menzies' Things to Come, Jean-Luc Godard's Alphaville, and Woody Allen's Sleeper." [Art Abstracts]
Fischer, Norman.: "Blade Runner and Do Androids Dream of Electric Sheep?: An Ecological Critique of Human-Centered Value Systems." Canadian Journal of Social and Political Theory, vol. 13 no. 3 (1989), pp. 102-113.
Fisher, William.: "Of Living Machines and Living-Machines: Blade Runner and the Terminal Genre." New Literary History 1988 20(1): 187-198.; UC users only; "Uses the 1982 film Blade Runner to illustrate a theoretical terminal genre that makes use of the interplay between technology and utopianism and to show how this genre is the successor of European and American avant-garde films." [America: History and Life]
Fitting, Peter.: "Futurecop: The Neutralization of Revolt in 'Blade Runner.'" Science Fiction Studies, 14:3 (Nov. 1987) pp:340-
Fried, K. William: "Blade Runner: An Interpretation." Psychoanalytic Psychology. Vol 21 (2), Spring 2004, pp. 312-318; "Blade Runner, a film directed by Ridley Scott, was released to theaters in 1982. It was the forerunner of more recent film treatments of the relations between humans and androids such as A.I. Artificial Intelligence (S. Spielberg, 2001) and Minority Report (S. Spielberg, 2002). This juxtaposition is of particular interest to psychoanalysts because it stimulates thinking about what qualities are quintessentially human. By means of its rich symbolism and allusive cinematic vocabulary, the film explores such questions as the nature of the superego, the Oedipus complex, identity formation, and the eternal struggle between eros and thanatos. The author uses the material of the film to comment on some of the fundamental differences between Freud's worldview and that of the neo-Freudians." [PsychArticles]
Gerblinger, Christiane.: ""Fiery The Angels Fell": America, Regeneration, And Ridley Scott's Blade Runner." Australasian Journal Of American Studies [New Zealand] 2002 21(1): 19-30.; "Analyzes Ridley Scott's 1982 film Blade Runner to show how America in the 1980's sought to regenerate itself by looking to its past, rather than attempting to progress forward. The "fiery the angels fell" reference to William Blake's "America, a Prophecy" (1793) with which one of the film's main characters opens the feature, is a deliberate misquotation. Motifs and characters from Blade Runner reveal the social and political changes of the 1980's that required a new perspective on America's national character." [America: History and Life]
The Gospel According to Philip K. Dick [Videorecording]: A profile of the life of the influential science fiction writer, Philip K. Dick presented through interviews with contemporaries and excerpts from his writings. Dick's writing and ideas on reality, humanity and technology which blend West Coast utopianism, counterculture paranoia and mystical experience have been adapted into films, including Blade Runner and Total Recall. Since very little interview footage exists of Philip K. Dick, this documentary relies on audio taped interviews with Dick, allowing him to comment in his own words.; --Media Center VIDEO/C 7650
Gravett, Sharon L.: "The Sacred and the Profane: Examining the Religious Subtext of Ridley Scott's 'Blade Runner.'" Literature-Film Quarterly v26, n1 (Jan, 1998):38 (8 pages).; UC users only; The religious subtext of Ridley Scott's 'Blade Runner' has been overlooked in favor of discussion of other more obvious genres. 'Blade Runner' draws on the creation story in Genesis, but also on the founding of the nation of Israel and the patriarch Israel. In 'Blade Runner' the replicants represent the new Adams and Eves, but there are parallels between Jacob, his twin brother Esau, Deckard and Batty.
Gruzinski, Serge: Images at war : Mexico from Columbus to Blade Runner (1492-2019) Durham, NC : Duke University Press, 2001.
Harley, Alexis: "America, a Prophecy: When Blake Meets Blade Runner." Sydney Studies in English, vol. 31, pp. 61-75, 2005
Higley, S.L.: "A Taste for Shrinking: Movie Miniatures and the Unreal City." Camera Obscura no. 47 (2001) p. 1-35; "The writer examines the reception of the illusion created by miniatures in seven films: Fritz Lang's Metropolis, David Butler's Just Imagine, Ridley Scott's Blade Runner, Tim Burton's Batman and Edward Scissorhands, and Alex Proyas's The Crow and Dark City. In each of these films, on which thousands or millions of dollars were spent on elaborate miniature photography, viewers are treated to an aerial vista of a city into which they descend along with the protagonists. While the express ambition of the effects artists is to provide an illusion of a believable city viewed from above, the full pleasure of the film relies on its being seen as a set to be gazed at, beyond anything that either Disneyland or the 1939 World's Fair could offer. Rather than menacing viewers, the filmic miniature permits them to disarm and colonize troubling cultural spaces in what it suggests and omits of America's actual inner-city problems." [Art Index]
Instrell, Rick: "Blade Runner: The Economic Shaping of a Film." In: Cinema and fiction : new modes of adapting, 1950-1990 / edited by John Orr and Colin Nicholson. pp: 160-70. Edinburgh: Edinburgh University Press, c1992.; --Main Stack PN1995.3.C56 1992
Jakaitis, Jake.: "Ridley Scott and Philip K. Dick." Science-Fiction Studies v19, n2 (July, 1992):251 (6 pages).
Jones, Marc T.: "Blade Runner Capitalism, the Transnational Corporation, and Commodification: Implications for Cultural Integrity." Cultural Dynamics, 1998, 10, 3, Nov, 287-306; UC users only; "This paper examines the relationship between global capitalism, commodification, and cultural integrity from multiple levels of analysis ranging from the macro to the micro. The macro approach questions the salience of the globalization thesis and argues that the future articulation of what I call Blade Runner capitalism will be less integrative than the Fordist-Keynesian capitalism of the past, thereby increasing the space for cultural integrity in many regions. The micro approach examines the nature of the commodity form through the diverse theoretical lenses of Marx, Weber, Veblen, and Baudrillard. I point out weaknesses in the formulations of both Marx and Weber, and turn to Veblen and Baudrillard for a fuller interpretation of commodity form. From this positionality, I argue that spaces for resistance to the hegemony of economic rationality may exist within the commodification process and the commodity form rather than apart from them. I conclude that globalization is not the all-encompassing threat to cultural integrity that many observers argue; nor does commodity status rule out effective resistance to cultural hegemony." [Sage]
Kang, Gyu Han.: "[Between Man and Machine: The Question of Androids in V., Blade Runner, and The Bicentennial Man]." Journal of English Language and Literature/Yongo Yongmunhak. 50 (3): 715-32. 2004.
Katz, B.: "Fast forward." ID v. 49 no. 1 (February 2002) p. 75; "What distinguishes Ridley Scott's 1982 film Blade Runner from older science fiction films is its ambivalent evocation of our urban destiny. The film depicts the city of tomorrow not as a gleaming technotopia that has completely supplanted our own faltering civilization, but as an archaeological layering of past, present, and future. Just as it was beginning to fade, the film's message has returned with a vengeance: Our cities are fragile, complex, imperfect artifacts, and though we try to design them, they actually design themselves." [Art Index]
Kennedy, H.: "21st century nervous breakdown." (Ridley ("Alien") Scott strikes again, this time with Harrison Ford as a 21st-century gumshoe)(Blade runner) Film Comment v 18 July/Aug 1982. p. 64-8
Kermode, Mark.: "Endnotes." (Vangelis's music for Ridley Scott's 'Blade Runner') Sight and Sound v4, n8 (August, 1994):63.; Vangelis's score for Ridley Scott's 'Blade Runner' was released after 12 years of differences between the director and the composer. The differences arose from Scott's decision to use source music without Vangelis's permission. The album does not differ from the original score. The album includes dialogue clips from important scenes in the movie.
Klein, Norman M.: "Building Blade Runner." Social Text vol. 9 no. 3 (28). 1991. pp: 147-52.
Kolbe, William.: "Blade Runner: An Annotated Bibliography." Literature/ Film Quarter,v18, n1 (Jan, 1990):19 (46 pages).
Land, Nick.: "Machinic Desire." Textual Practice, vol. 7 no. 3. 1993 Winter. pp: 471-82.
Landon, Brooks: "There's Some of Me in You: Blade Runner and the Production Realities of Adapting Science Fiction Literature into Film." In: The Aesthetics of ambivalence : rethinking science fiction film in the age of electronic (re)production / Brooks Landon. pp: 45-58. New York: Greenwood Press, 1992. Contributions to the study of science fiction and fantasy ; no. 52; --Main Stack PN1995.9.S26.L36 1992; --Moffitt PN1995.9.S26.L36 1992
Landsberg, Alison.: "Prosthetic Memory: Total Recall and Blade Runner." In: The Cybercultures reader / edited by David Bell and Barbara M. Kennedy. pp: 190-201. London; New York: Routledge, 2000.; --Moffitt QA76.9.C66.C898 2000
Landsberg, Alison: "Prosthetic Memory: Total Recall and Blade Runner." Body & Society, Vol. 1, No. 3-4, 175-189 (1995); UC users only
Lee, Kihan: "Towards a De-Kippleization of Philip K. Dick's Do Androids Dream of Electric Sheep?"; UC users only
Lev, Peter.: "Blade Runner." In: American films of the 70s : conflicting visions / Peter Lev. 1st ed. Austin, TX : University of Texas Press, 2000.; --Main Stack PN1993.5.U6.L44 2000; --Moffitt PN1993.5.U6.L44 2000
Lev, Peter.: "Whose Future? 'Star Wars,' 'Alien,' and 'Blade Runner.'" Literature-Film Quarterly v26, n1 (Jan, 1998):30 (8 pages).; UC users only; The science fiction films 'Star Wars,' 'Alien' and 'Blade Runner' serve as a vehicle for the presentation of political ideology. In 'Star Wars,' George Lucas presents the future as a revision of King Arthur, a return to heroism and traditional morality and conservatism. 'Alien' and 'Blade Runner' are Ridley Scott's interpretation of liberalism: a distrust of authority and an openness to those outside traditional definitions.
Lightman, Herb-A; Patterson, Richard.: "Cinematography for Blade Runner." American Cinematographer v 80 no3 Mar 1999. p. 158-60+.; UC users only; "In a reprint of an article that appeared in the July 1982 issue of American Cinematographer, the writers discuss Jordan Cronenweth's cinematography for Ridley Scott's film Blade Runner. The film has been placed ninth in a list of the top ten best-shot films made between 1950 and 1997, which was based on the results of American Cinematographer's first-ever readers' poll. The key ingredients in the look of this film are the use of backlighting and contrast and also of sharp shafts of light, which immediately evoke images from classic black-and-white films. The writers go on to discuss how various special effects were created for the film." [Art Abstracts]
Linn, Charles.: "Blade Runner still on the cutting edge, familiar as it is." (motion picture) Architectural Record v182, n10 (Oct, 1994):27.; " The future of architecture can be glimpsed in Ridley Scott's 1982 science fiction thriller, Blade Runner. Set in Los Angeles in 2019, the film features a landscape dominated by megastructures similar to the huge projects Paul Rudolph designed for the Lower Manhattan Expressway in the 1960s. The film's main character lives in a 97th floor apartment whose design recalls those of Frank Lloyd Wright. Another character lives alone in a huge, dilapidated structure that is actually Los Angeles's Bradbury Building before it was restored. Blade Runner is reassuring because it suggests that people will like the same things in the future that they like today." [Art Abstracts]
Marder, Elissa: "Blade Runner's Moving Still." Camera Obscura 27 (Sept. 1991):88-107.; A reassessment of the film ten years after its first release, arguing that it is one of the most powerful and influential examples of cinematic postmodernism.
McNamara, Kevin R.: "'Blade Runner's' Post-individual Worldspace." Contemporary Literature v38, n3 (Fall, 1997):422 (25 pages).; The destruction and restoration of individual difference that is the theme of Philip K. Dick's novel 'Do Androids Dream of Electric Sheep?' also forms the center of Ridley Scott's 'Blade Runner,' the film based on Dick's book. 'Blade Runner' depicts most humans as emptied of spirit by the multiple assaults of technology, filtering invented images in a doomed attempt to fill the void. The film's sense of psychic space allows the main character to rediscover his nearly-obliterated individuality.
Meades, J.: "Future retrospection." (Ridley Scott's latest fantasy film Blade runner) Architects' Journal v 176 Sept 22 1982. p. 28-9
Milner, Andrew: "Darker Cities: Urban Dystopia and Science Fiction Cinema." International Journal of Cultural Studies, Vol. 7, No. 3, 259-279 (2004); UC users only; This article makes use of Darko Suvin's theory of the novum and Raymond Williams's cultural materialism to analyse three urban-dystopian science fiction films: Fritz Lang's Metropolis (1927), Ridley Scott's Blade Runner (1982) and Alex Proyas's Dark City (1998). It argues for the central significance of utopia, dystopia and cinema to SF. It explores the themes of class and gender, the uses of intertextuality, and the representations of the human and the posthuman in these three films. Drawing on Jameson, Baudrillard and others, it argues that the first film exhibits a characteristically modern, the latter two different versions of a characteristically postmodern, structure of feeling.
Morris, Robyn.: "Making Eyes: Colouring the Look in Larissa Lai's When Fox Is a Thousand and Ridley Scott's Blade Runner." Australian-Canadian Studies: a Journal for the Humanities & Social Sciences. 20(1):75-98. 2002
Morris, Robyn.: "'What Does It Mean to Be Human?': Racing Monsters, Clones and Replicants." Foundation: The International Review of Science Fiction. 33 (91): 81-96. 2004 Summer.
Morrison, Rachela.: "'Casablanca' Meets 'Star Wars': The Blakean Dialectics of 'Blade Runner'." Literature/ Film Quarter, vol. 18 no. 1 1990. pp: 2-
Myman, Francesca: ""Skirting the Edge": Costume, Masquerade, and the Plastic Body in Blade Runner"
Neale, Stephen: "Issues of difference : Alien and Blade runner." In: Fantasy and the cinema / edited by James Donald. London : British Film Institute, 1989.; --Main Stack PN1995.9.F36.F361 1989; --Moffitt PN1995.9.F36
Pastorino, Gloria.: "The Death of the Author and the Power of Addiction in Naked Lunch and Blade Runner." In: Science fiction, critical frontiers / edited by Karen Sayer and John Moore. pp: 100-15 New York: St. Martin's Press, 2000.; --Main Stack PS374.S35.S333 2000
Pearson, Ann.: "Apocalyptic Visions-Beyond Corporeality." Journal of Religion and Film. 2 (3): 14 paragraphs. 1998.
Peary, Danny: "Directing Alien and Blade Runner: an interview with Ridley Scott." In Ridley Scott : interviews / edited by Laurence F. Knapp and Andrea F. Kulas. Jackson : University Press of Mississippi, c2005.; --Main Stack PN1998.3.S393.A5 2005
Peim, Nick.: "'If Only You Could See What I've Seen with Your Eyes': Blade Runner and La Symphonie Pastorale." In: Classics in film and fiction / edited by Deborah Cartmell ... [et al.]. pp: 14-33. London ; Sterling, Va. : Pluto Press, 2000. Film/fiction ; v. 5; --Main Stack PN1997.85.C56 2000
Platt, Charles: "Do Androids Dream of Philip K. Dick?" Horizon 25:5 (1982:July/Aug.) 38; The story-behind-the-story of the new Harrison Ford movie, "Blade Runner": an intimate portrait of the genius who created this and other strange (but strangely familiar) worlds.
Pyle, Forest.: "Making Cyborgs, Making Humans: Of Terminators and Blade Runners." In: The Cybercultures reader / edited by David Bell and Barbara M. Kennedy. pp: 124-37. London; New York: Routledge, 2000.; --Moffitt QA76.9.C66.C898 2000
Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Philip K. Dick's Do Androids Dream of Electric Sheep? Bowling Green, Ohio: Bowling Green State University Popular Press, c1991.: --Main Stack PN1997.B283.R4 1991
"Ridley ("Alien") Scott strikes again, this time with Harrison Ford as a 21st-century gumshoe." Film Comment 18:4 (1982:July/Aug.) 64
Romero, Rolando J.: "The Postmodern Hybrid: Do Aliens Dream of Alien Sheep?" Post Script: Essays in Film and the Humanities vol. 16 no. 1. 1996 Fall. pp: 41-52.
Romney, Jonathan.: "Replicants Reshaped." (new version of film 'Blade Runner') New Statesman & Society v5, n230 (Nov 27, 1992):33 (2 pages).; The 1982 movie 'Blade Runner' is the premier postmodern science fiction film and its themes of recycling, instability and the future of the city have been influential. A new 'corrected' version of the film was released in 1992.
Ruppert P.: "'Blade Runner', The Utopian Dialectics Of Science-Fiction Films." Cineaste, 1989, V17 N2:8-13.
Rusing, Janice Hocker; Frentz, Thomas S.: "The Frankenstein Myth in Contemporary Cinema." Critical Studies in Mass Communication v6, n1 (March, 1989):61 (20 pages); "Examines the films Rocky IV, Blade Runner, and The Terminator, pointing to an evolving dystopian myth - "the Frankenstein Myth" - in contemporary cinema that implies that American culture must reintegrate feminine values into its consciousness in order to heal the increasing division of technological agency from human agent." [America: History and Life]
Sammon, Paul M.: Future Noir: The Making of Blade Runner / Paul M. Sammon. New York: HarperPrism, 1996.; --UCB Main PN1997.B569 S26 1996
Schwartz, Richard Alan: The films of Ridley Scott / Richard A. Schwartz. Westport, Conn. : Praeger, 2001.; --Main Stack PN1998.3.S393.S394 2001
Scifi files. 4, Living in the Future.[Videorecording]: For centuries, science fiction has predicted the future. This film series explores the history of this art form using clips from films and expert commentary. Part 4 examines science fiction movies that project into the future of mankind. By tracing the evolution of the city, attitudes towards women, sex and relationships and the continuing fascination with building ourselves a Utopia--perhaps on Mars, the film examines the dream of what the future may bring. Includes discussions of Films reviewed: 1984 -- Forbidden planet -- Rocketship X-M -- Stepford wives -- Barbarella-- Robot monster -- Flash Gordon -- Devil girl from Mars -- Queen of outer space -- Metropolis -- Woman in the moon -- Terminator 2 -- Blade runner -- Soylent green -- Johnny Mnemonic -- Total recall. 50 min. UCB Media Ctr VIDEO/C 5990
Scott, Simon H.: "Is Blade Runner a Misogynistic Text?"
Seidel, Kathryn Lee. Wang, Alvin Y.: "Asians and Aliens in Cyberculture Film and Fiction." Hybridity: Journal of Cultures, Texts and Identities. 1 (1): 17-29. 2000.
Senior, W.A.: "'Blade Runner' and Cyberpunk Visions of Humanity." Film Criticism v21, n1 (Fall, 1996):1 (12 pages).; UC users only; "The writer discusses the depiction of human nature in cyberpunk culture with specific reference to Ridley Scott's 1982 film, Blade Runner. Similar to most cyberpunk fiction, Blade Runner does not propose any definite criteria for humanity but insinuates a wide range of constantly metamorphosing humanities from a regressive underclass to superhuman replicants. The film focuses on the character of Rick Deckard, who is a Blade Runner, a special type of detective employed to hunt down and destroy renegade replicants--genetically engineered human beings. Throughout the film, however, Deckard's similarity to and affinity with the replicants becomes evident, implying that distinctions between human and replicant ultimately do not matter. Thus, the film explores the question of what constitutes humanity, positing the notion--no doubt an uncomfortable one for some--that humanity expands to occupy many different forms." [Art Abstracts]
Shapiro, Michael J.: "'Manning' the Frontiers: The Politics of (Human) Nature in Blade Runner." In: In the nature of things: language, politics, and the environment / Jane Bennett and William Chaloupka, editors. pp: 65-84. Minneapolis : University of Minnesota Press, c1993. Chaloupka, William, 1948; --UCB Main Stack GF21.I53 1993
Sharrett, Christopher: "Ramble city : postmodernism and Blade Runner." In: Crisis cinema : the apocalyptic idea in postmodern narrative film / edited by Christopher Sharrett. Washington, D.C. : Maisonneuve Press, 1993. PostModernPositions ; v. 6.; --UCB Main Stack PN1995.9.S6.C75 1993
Shetley, Vernon; Ferguson, Alissa.: "Reflections in a silver eye: lens and mirror in Blade Runner." Science-Fiction Studies v28, n1 (March, 2001):66 (11 pages).; "The authors the metaphor of vision in the movie Blade Runner. Author Abstract: Blade Runner is a film centrally concerned with vision. Prostheses of vision--the Voigt-Kampff test and the Esper machine--permit detective Rick Deckard to probe physical and even mental space, and extend his search for android "replicants" into distant rooms and into the minds of the characters he encounters. In the Esper sequence, Deckard analyzes the photograph cherished by the replicant Leon, an analysis that turns on the presence of a convex mirror at the center of the image. This photograph echoes the mirror seen in Jan van Eyck's famous painting, The Arnolfini to the way these works sustain an extended mediation on pictorial or cinematic vision. In Blade Runner, the form of vision embodied by the Esper machine--which is characterized as probing, dominating, and ultimately lethal--is played off against a mode of vision tentatively but crucially present in the moment when Rachael's photograph "comes alive" in Deckard's hands, a mode of vision that turns on imaginative empathy." COPYRIGHT 2001 SF-TH Inc.[Magazine Index]
Silverman, Kaja.: "Back to the Future." Camera Obscura, vol. 27. 1991 Sept. pp: 109-32.; "An examination of the amalgamation of science fiction film, and film noir in Blade Runner. An essential article, which encompasses Freud, Lacan, post-structuralism and referentiality, as well as gender, differance, and binarism. The essay provides an excellent analysis of undercutting the referential value of the photographs looked at by Deckard, Rachel, and Leon in the film." [from Queens University (Belfast) web bibliography]
Slade, Joseph W.: "Romanticizing Cybernetics in Ridley Scott's 'Blade Runner.'" (motion picture criticism) Literature-Film Quarterly v18, n1 (Jan, 1990):11 (8 pages).
Staiger, Janet.: "Future Noir: Contemporary Representations of Visionary Cities." East-West Film Journal, vol. 3 no. 1. 1988 Dec. pp: 20-44.; Also in:; Alien zone II : the spaces of science-fiction cinema / edited by Annette Kuhn. London ; New York : Verso, 1999.; --Main Stack PN1995.9.S26.A8184 1999
Stein, Michael Eric.: "The New Violence or Twenty Years of Violence in Films: An Appreciation.(part 1) Films in Review v46, n1-2 (Jan-Feb, 1995):40 (9 pages).
Stoehr, Ingo R.: "The Return of Frankenstein." Dimension2: Contemporary German Language Literature, 1993-1994, 15-17.
Stoekl, Allan.: "Execution and the Human." Intertexts, 1999 Spring, 3:1, 3-31.
Strick, Philip.: "Age of the Replicant." Sight and Sound 51:3 (1982:Summer) 168; Philip Strick considers Philip K. Dick, Ridley Scott's "Blade Runner", Tony Scott's "The Hunger" and robots indistinguishable from humans.
Strick, Philip.: "'Blade Runner': telling the difference." (comparative criticism of old and new versions of the science fiction film starring Harrison Ford) Sight and Sound v2, n8 (Dec, 1992):8 (2 pages).; The so-called original director's cut of 'Blade Runner' differs from the first release in its deletion of actor HarrisonFord's voice-over narration and its shortened ending - changes enhance the film. The final image of a tinfoil unicorn adds a symbolic image to the ending of the director's cut and the removal of the narration enhances the communicative impact of the film's images. The omission proves that the narration was unnecesary in the first place. Each version, however, must be evaluated as separate films, disregarding whatever effects their differences may have on either one.
Telotte, J.P.: "Human Artifice and the Science Fiction Film" Film Quarterly 36:3 (1983:Spring) 44; Science renders the question of what it is that makes us human increasingly problematic, and "The Thing, Invasion of the Body Snatchers" and "Blade Runner" struggle with the ensuing menacing paradoxes
Telotte, J.P.: "The Tremulous Public Body: Robots, Change, and the Science Fiction Film. Journal of Popular Film and Television v19, n1 (Spring, 1991):14 (10 pages).; "In such recent science fiction films as Blade Runner (1982), Robocop (1987), Cherry 2000 (1988), and Total Recall (1990), robots symbolize contemporary man's struggle to reclaim his humanity in the face of repressive forces." [America History & Life] Tiitsman, Jenna. If Only You Could See What I've Seen with Your Eyes: Destabilized Spectatorship and Creation's Chaos in Blade Runner. Cross Currents. 54 (1): 32-47. 2004 Spring.
Tiitsman, Jenna.: "If Only You Could See What I've Seen with Your Eyes: Destabilized Spectatorship and Creation's Chaos in Blade Runner." Cross Currents. 54 (1): 32-47. 2004 Spring.; UC users only
Wheale, Nigel.: "Recognising a 'Human-Thing': Cyborgs, Robots and Replicants in Philip K. Dick's Do Androids Dream of Electric Sheep? and Ridley Scott's Blade Runner." Critical Survey vol. 3 no. 3. 1991. pp: 297-304.; Also in:; The postmodern arts : an introductory reader / edited by Nigel Wheale. London ; New York : Routledge, 1995. Critical readers in theory and practice.; --Main Stack NX456.5.M64.P67 1995
Williams, Douglas E.: "Ideology as Dystopia: An Interpretation of Blade Runner." International Political Science Review, Vol. 9, Issue 4, p. 381, October 1988; UC users only; "Film and other forms of popular culture place enormously powerful tools at the disposal of students of politics and society. This paper analyses an aesthetically complex, philosophically disturbing and ideologic ally ambivalent cinematic dystopia of a few years ago, 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 casts serious doubt on a host of the clich�s about where we should locate their causes. Among the most significant questions it challenges us to confront are: In what does the "truly human" consist? Does the concept of imitating "truly human" beings retain any coherence once the feasibility of designing "more human than human" robots becomes an increasingly imaginable technological possibility? What might relations between the sexes and family life become if the twin eventuality of an uninhabitable earth and the perfection of robotic technologies should come about? While political theorists are asking themselves, "What and where should political theory be now?", this paper contends that at least part of their time should be spent at the cinema, deep in thought and imagination." [Sage]
Williams, Don: ""If you could see what I've seen with your eyes..." : post-human psychology and Blade runner." In: Jung & film : post-Jungian takes on the moving image / [edited by] Christopher Hauke and Ian Alister. Hove, East Sussex ; New York : Brunner-Routledge, 2001.; --Main Stack PN1995.J86 2001
Wilmington, Mike.: "The Rain People." (restoration of 'Blade Runner') Film Comment v28, n1 (Jan-Feb, 1992):17 (3 pages).; A new version of director Ridley Scott's masterful science fiction film 'Blade Runner' has been released in Los Angeles. It tries to sanitize the original's conveyance of angst and despair but to little avail. The original vision still permeates through.
Wilson, E. G.: "Moviegoing and Golem-Making: The Case of "Blade Runner"." Journal of Film and Video v. 57 no. 3 (Fall 2005) p. 31-43; "The conjunction of miracle and monstrosity in Ridley Scott's 1982 film Blade Runner is examined. This film addresses the struggle between agency and determinism as embodied in an android who strives for humanity and in an ostensible human who is likely a machine. For much of it, the android seeks to reconcile his two natures, and the human slowly becomes aware of his own split; when the android becomes an ideal human, thereby moving from golem as monster to golem as miracle, the human realizes his own rift and seems to strive for synthesis between necessity and freedom. Watching this double existence, the audience witnesses the essential struggle between perfection and reality, and hopefully envisions concord, however unachievable. A vision of the redemption as well as the commodification of existence, the film erases itself, leaving the audience imprisoned between agency and engine--a situation that might well induce despair but could also possibly inspire a vision of an unexpected golem." [Art Index]
Winston, Brian.: "Tyrell's Owl: The Limits of the Technological Imagination in an Epoch of Hyperbolic Discourse." In: Theorizing Culture: An Interdisciplinary Critique after Postmodernism / edited by Barbara Adam, Stuart Allan. New York: New York University Press, 1995.; --Main Stack HM101.T4743 1995 225-35.
Wollen, Peter: "Blade runner : 'Ridleyville' and Los Angeles." In: The hieroglyphics of space : reading and experiencing the modern metropolis / edited by Neil Leach. London : Routledge, 2002.; --Environ Dsgn HT111.H45 2002
Wong, Kin-yuen.: "On the Edge of Spaces: Blade Runner, Ghost in the Shell, and Hong Kong's Cityscape." Science Fiction Studies, 2000 Mar, 27:1 (80), 1-21; " Author Abstract: Sf films such as Blade Runner and Ghost in the Shell take a deep interest in the Hong Kong urbanscape at the turn of the century. With its history of dislocation, migration, and marginality in its colonial days, Hong Kong emerges as a model city for the sf genre of "future noir"; its overcrowded, disjunctive cityscape provides a perfect setting for multiculturalism in a postmodern context. This article takes readers on a guided tour of a unique shopping mall at the hub of Hong Kong urbanscape, Times Square, as an illustration of how we can read out of it an "urban secret located at the intersection" of sf and the postmodern." COPYRIGHT 2000 SF-TH Inc. [Magazine Index]
Yaszek, L.: "Of Fossils and Androids: (Re)Producing Sexual Identity in `Jurassic Park' and `Blade Runner'" Journal Of The Midwest Modern Language Association, 1997 Spring, V30 N1-2:52-62.
Yuen, Wong Kin.: "On the Edge of Spaces: Blade Runner, Ghost in the Shell, and Hong Kong's Cityscape." Science Fiction Studies. 27 (1 (80)): 1-21. 2000 Mar.
Zizek, Slavoj.: "'The Thing That Thinks': The Kantian Background of the Noir Subject." In: Shades of Noir: A Reader. London / edited by Joan Copjec. pp: 199-226. London; New York: Verso, 1993.; --Main Stack PN1995.9.F54.S5 1993
Reviews
Arthur, P.: "Blade Runner." (motion picture review) Film Comment, 1996 Jul-Aug, V32 N4:21+.
Dempsey, M.: "Blade Runner." (motion picture review) Film Quarterly v 36 no2 Winter 1982/1983. p. 33-8
Elitzik, Paul: "Blade Runner" (Review) Cin?aste 12:3 (1983) 46
Krista, Charlene: "Blade Runner" (Review) Films In Review 33:7 (1982:Aug./Sept.) 429
Grenier, R.: "Blade Runner" (Review) Commentary v. 74 (August 1982) p. 67-70
Kael, P.: "Blade Runner" (Review) The New Yorker v. 58 (July 12 1982) p. 82-5
Kauffmann, S.: "Blade Runner" (Review) The New Republic v. 187 (July 19-26 1982) p. 30
Krista, Charlene: "Blade Runner" (Review) Sight and Sound v 51 no3 Summer 1982. p. 168-72
Kroll, J.: "Blade Runner" (Review) Newsweek v. 99 (June 28 1982) p. 72
Roddick, N.: "Blade Runner." (motion picture review) Films and Filming no337 Oct 1982. p. 34-5
Ruppert, P.: "Blade runner." Cineaste v. 17 no. 2 (1989) p. 8-13
Sragow, M.: "Blade runner." [film Reviews]. Rolling Stone (August 5 1982) p. 33-4

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Blade Runner (motion picture): A Selective Bibliography of Materials in the UC Berkeley Library

Books & Articles

Reviews

Blade Runner (motion picture):
A Selective Bibliography of Materials in the UC Berkeley Library