Claustrophobically enclosed. Entropy surrounds him, nothing is stable. Deckard -like characters in 19th Century 'situation' novels is de-humanised by his alienating surroundings. The continuous rain suggests biblical flood that is echoed by other Judea-Christian motifs. Biblical flood purged evil with possible hope for redemption. Continuous darkness throughout scenes except within Tyrell's building The ‘Film Noir tone’ contributes to the ambiguous nature of the dystopian world. Flaring industrial explosions. VISUAL Setting: you can feel the cold, endless rain that saturates this gloomy megalopolis, with constant acid rain resulting from over-industrialisation. Scientific advancements simply co-exist with, layering over, existing technology until the entire infrastructure is on the verge of collapse.

Flying cars, mile-high megastructures. The city is visually and acoustically intrusive. Densely-layered imagining of a city in the not very distant future of western capitalism. Varying cultures and ethnicities further displays this. Mainly asian culture has overtaken western cultures. But yet “god” (Tyrell) is still white male and from a western background. Layering of technologies, styles, lifestyles and ethnicities; very crowded, eclectic, full of hybridized details nothing natural left Exoskeletal physical look of the film's setting: new layered over old; crowded emptiness; constant rain and darkness in L.A. Pollution ad dirt are everywhere. Sweeping lighthouse styled lighting. It is always raining this shows that it is an in-perfect world, although Tyrell's skyscraper is above the clouds suggesting that he is God.

The film is drenched in reverberation, forming the aural equivalent of the oppressive haze and mist that veil the movie’s every scene. Robotic/Alien like sounds. Heavy reverberation, because it implies a huge, enclosed, hard-surfaced space, creates a mood of mystery and paranoia. Aural oppressiveness. Thunder throughout various scenes foreshadows impending trouble. Swooping glissandos and hollow booms against the ominous impenetrable black background. SOUND The Hum in Deckard’s Apartment has a life of its own, it is ever-present, the voice of the place itself. Unlike everything else, it radiates stability, calm, and self- understanding as it quietly oscillates across a fifth, tonic to dominant to tonic and back again.

What if you eliminated unproductive periods of infancy, childhood and adolescence, and produced a fully grown adult from the start. A tempting scientific and commercial goal, or even a survival goal if faced with a drastic drop in human fertility. Society invests much of its energy in economically unproductive persons. Non-adults in industrial societies are economically non-productive. Subliminal messages force people to take contraception Deckard –like characters in the 29 th century situation novels is de-humanised by his alienating surrondings He is only human when he is surrounded by his pictures/memories Scinetific advancements simply co-exist with, layering over, existing technology until the entire infastructure is on the verge of collapse Decay The city is visually and acoustically intrusive Hum of apartments and cars Asian advert (birth control) SOCIETAL

Entropy surrounds him, nothing is stable The whole world is controlled shown in the first scene We see Deckard in and the world around is crazy and over flowing Claustrophobically enclosed Tightly packed industrial buildings The world is over-flowing with many cultures primarily Asian Setting: you can feel the cold, endless rain that saturates this gloomy megalopolis with constant acid rain resulting from over-industrialisation ‘the flood’- world is condemned, sense of hope similar to the end of the flood (biblical) Deckard is free Are the advertisements promoting oral contraception as a way to reduce the volume of human beings, which would be replaced by Tyrell’s creations? The ‘Film Noir tone’ contributes to the ambigous nature of the dystopian world