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Journal Article
Camera Obscura (2010) 25 (1 (73)): 69–95.
Published: 01 May 2010
...Richard Pope It is typically argued that Blade Runner should be seen as a metaphor of the postmodern condition, or of our—”our” insofar as we are postmodern subjects—schizophrenic relation to the Symbolic order. It is said that while the film's replicants are initially resistant to the social order...
Journal Article
Camera Obscura (2022) 37 (3 (111)): 87–113.
Published: 01 December 2022
...Domietta Torlasco Abstract Taking Denis Villeneuve's Blade Runner 2049 as a point of departure, this essay argues that cinema's stories of species survival at once hide and duplicate the racialization of matter that has marked the history of geology and, more recently, the discourse...
FIGURES
Image
in The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 2049
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 1. Blade Runner 2049 (dir. Denis Villeneuve, US/UK/Canada/Spain, 2017)
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Image
in The Anthropocene as Cinematic View: Time, Matter, and Race in Blade Runner 2049
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 December 2022
Figure 2. Blade Runner 2049 (dir. Denis Villeneuve, 2017)
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Journal Article
Camera Obscura (1991) 9 (3 (27)): 88–107.
Published: 01 September 1991
...Elissa Marder Copyright © 1992 by The Johns Hopkins University Press 1991 Blade Runner (Ridley Scott, 1982). 0 1982 The Ladd Company
Blade Runner’s Moving Still
Elissa Marder
In the decade that has elapsed since Blade Runner’s first commercial
release, Ridley Scott’s 1982...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 108–132.
Published: 01 September 1991
...Kaja Silverman Copyright © 1992 by The Johns Hopkins University Press 1991
Back to the Future
Kuju Silverman
Ridley Scott’s Blade Runner (1982) represents a curious generic amal-
gam; simultaneously science fiction and film noir, it points both for-
ward and backward in time.l...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 36–65.
Published: 01 December 1986
.... Films like Blade Runner (1982), Alien (1979), The Road
Warrior (1981), Liquid Sky (1982), and The Man Who Fell to Earth
(1976; re-released several years later in a long version) have a visual
presence in keeping with perceptually aggressive and imaginative media
advertising. Although...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 1–35.
Published: 01 September 2001
... and
descended into is an imaginary city for a futuristic or fantastic
film, then the tools of illusion are more complicated and costly. In
Fritz Lang’s Metropolis (Germany, 1927), David Butler’s Just Imag-
ine (US, 1930), Ridley Scott’s Blade Runner (US, 1982), Tim Bur-
ton’s Batman (US, 1989), Burton’s...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 3–17.
Published: 01 December 1984
... that Almy begins to rethink the implications of moving from
multi-monitor performance art to high-tech single-monitor work.
In Deadline, Almy condenses and reorganizes what had begun as a
performance piece. In the original performance, she had wanted to create
the impression of a male runner...
Journal Article
Camera Obscura (1984) 4 (3 (12)): 18–39.
Published: 01 December 1984
... (installation, 1980)
at the end of the room. The runner was full image on all the screens, with
white around the outside of him. There was a bank of monitors in a
chevron shape - the front runner in close-up, the second in medium, I
think - and then there were pictures...
Journal Article
Camera Obscura (2024) 39 (3 (117)): 149–175.
Published: 01 December 2024
... stare at the screen as my splits shift from green to red. Quit game. Reset splits. On to run 203. This anecdote from early 2020 is not at all unfamiliar to speedrunners. Promising runs are lost all the time for any number of reasons. Runners miss an input or make a poor decision, or sometimes luck...
FIGURES
Journal Article
Camera Obscura (2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... to characterize the early films
of Ridley Scott.64 Indeed, another important Nikita prototype is
Ridley Scott’s Blade Runner (US, 1982), which Besson “quotes” in
key ways. Most obviously, there is the similar iconography of the
cavernous, subterranean compound with its high-tech computers
and an elaborate...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 3–5.
Published: 01 December 1986
...” emphasizes the
predominance of set design over character and plot development in
films like Blade Runner and Liquid Sky. In part this emphasis on set
design stems from trends in contemporary advertising to control the
total perceptual field. The article describes the commodification...
Journal Article
Camera Obscura (1997) 14 (1-2 (40-41)): 161–179.
Published: 01 May 1997
...
corporation. In its dying attempt to protect its human charges, the
transformed cyborg asks for acknowledgement of its human temper- 171
ament. In Blade Runner (1982), The Toxic Avenger (1985), Short
Circuit (1986), Robocop (l987), Batteries Not Included (1987), and
all their sequels, human...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 66–85.
Published: 01 December 1986
... of as an exceptionally forward-
thrusting action picture, it shares with other recent science fiction films,
like Blade Runner, an emphasis on atmosphere or “milieu,” but not,
however, at the price of any flattening of narrative space. (In this
respect it is closest to Alien...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 176–179.
Published: 01 December 1986
... University Press. Baltimore, MD: May, 1986. $20.00.
Point of View in the Cinema by Edward Branigan. Walter de Gruyter & Co.
Berlin, 1984. DM 138.
Daddy Was a Number Runner by Louise Meriwether. The Feminist Press. The
City University of New York, 1986 (reissue). $8.95.
Narrative, Apparatus...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 179–187.
Published: 01 September 1991
...: An Introduction. No. 24; pp. 195-197.
Lyon, Elisabeth
The Unspeakable. No. 24; pp. 5-6.
Unspeakable Images, Unspeakable Bodies. No. 24; pp. 169-193.
Marchetti, Gina
Response to Questionnaire on “The Female Spectator.” No. 20-21; pp.
226-230.
Marder, Elissa
Blade Runner’s Moving...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 165–173.
Published: 01 September 2021
.... The only way to stop running was to collide with an obstacle, whether the walls of the church, other runners, or even members of the audience. The performer would then “merge” with the obstacle, fall down, and only begin to run again once the impulse to do so returned. According to Schneemann...
FIGURES
Journal Article
Camera Obscura (1994) 11-12 (3-1 (33-34)): 76–101.
Published: 01 May 1994
... noir has traditionally required a verdict as to the moral
worthiness (defined by allegiance to the male protagonist) of the femme 97
fatale. This is the case even in late film noir, or mixed genre productions
such as Blade Runner (1982) which, like Veronica Clare, makes use of
the very details...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 108–133.
Published: 01 January 1989
... Nochlin, to whose encouragement and example I am indebted.
1. Ryan to Deckard re: the replicant Zhora, in the film Blade Runner (dir.
Ridley Scott, 1982).
2. See especially part 111, “Myths” in Simone de Beauvoir, The Second Sex,
trans. H. M. Parshley (New York...
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