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In modern day usage this theory suggests that the more lifelike the object the less prevalent are strangely familiar feelings of eeriness and revulsion.Victor Frankenstein does not have the tools sophisticated enough to make creatures as physically perfect as Dr Tyrell and Niander Wallace.Rick Deckard a retired ‘blade runner’ is chosen to execute all the newest (Nexus-6) combat-models. But Deckard’s failure is part of the films journey from hatred to love as he falls in love with Rachel, as Dr Tyrell has named his ‘niece’ who is of course another creation of this modern-day Prometheus.
With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.
It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.
He has studied for years and committed crimes and sins to obtain the knowledge required and to obtain the raw materials necessary.
He knows exactly what he is creating, what it is made from and what it is, yet, when he first sees it, he is consumed by revulsion and horror. Here is Victor Frankenstein’s reaction:‘‘It was on a dreary night of November, that I beheld the accomplishment of my toils.
The sublimity of such an act reinforced (I’m not sure it needed to be by Scott) when Batty as he is shutting down releases a white dove into a blue sky.
The symbolism heavy yet the sublimity perfectly weighted.Scott is still exploring the tropes of high Romanticism but within a postmodern setting.Yet, our hero Deckard, and the director, is unaware that they are both now living in the post-modernity of the Uncanny Valley where beauty is literally only skin deep.In aesthetics, the Uncanny Valley is a hypothesized relationship between an object’s resemblance to a human being and the emotional response to this object.The uncanny concept was elaborated upon in a 1919 essay by Sigmund Freud (The Uncanny).His mechanistic mind-set and ambition are the exact same, but the technology was as primitive as the result.Yet why does the concept of the uncanny not apply to Frankenstein and his creation?The ‘replicants’ led by Batty are seeking their maker, Dr Eldon Tyrell to force him to modify their bio-mechanical design which limits their lifespan to four years.Fully cognizant of this engineered obsolescence to protect humanity from their physical superiority and emotionally inexperienced condition, they rebel and are prepared to do anything necessary to accomplish a permanent fix in longevity even if this means killing their creator: Dr Tyrell and anyone (or anything? After an unsuccessful attempt to breach the Tyrell Corporation headquarters they are targeted for execution or ‘retirement’.In 1756 Edmund Burke had developed his concept of the sublime and produced: (1790) did not deviate from Burke’s assumption about the ugly, that it is a shadow form of the beautiful. This is what Victor Frankenstein cannot stomach as the blood and guts ooze from the fissures in the Creatures ‘yellow skin’, the excess of the real.What is ugly is the brutal fact of existence and aesthetic conceptions of the sublime and the beautiful can only provide a temporary distraction from this reality, not a replacement.