( Published theorem - Issue Sardinian film No. 4, November 2006 ) He keeps talking about Blade Runner, Ridley Scott's masterpiece that continues to recombine and become "versions" most up to date, as a software. Or a replicant. Projected world premiere at the 64th Venice International Film Festival, Blade Runner: The Final Cut is the third incarnation of the masterpiece that wrote the rules of the new science fiction, like a hammer hitting the unsuspecting public that, in 1982, still asleep under the spell of mainstream fiction. It is opposed to psychology and sleight of paperboard in CGI, projecting into a cyberpunk nightmare in which a high-tech value of life is almost nonexistent. Blade Runner is a tech-noir which tells the story of Deckard, a hunter hired by megacorporations androids to hunt down and "pick up" four replicating out of control. That in Newspeak del 2019 significa uccidere, se si può veramente uccidere quello che la percezione pubblica vede come un bene di consumo.
Parallelamente, il film racconta la storia degli androidi rinnegati, piagati da una vita artificialmente abbreviata ed un'ansia ossessiva di incontrare il loro Creatore: Tyrell, un incrocio tra Bill Gates e il dottor Frankenstein, produttore di schiavi sintetici a basso costo. Ma Blade Runner va molto oltre Mary Shelley: in questo film, la creazione di esseri umani artificiali è già massificata, banalizzata, commercializzata. L'uomo conosce da tempo “cose che non era destinato a sapere” ed é chiaro come l’esistenza di limiti sacri alla portata della tecnologia sia una semplice illusione. Il pensiero same in the post-computer process is a codified and replicated on an industrial scale.
On these bases, the surrogates assert their humanity, the motto of Cogito Ergo Sum (it is significant that the name of their nemesis, Deckard, the American pronunciation sounds identical to Descartes). Blade Runner brought science fiction to a more primary, fierce, psychic. E 'guerrilla ontology, plunged into a nightmare monumental urban and globalized. How would Frank Lloyd Wright, the Los Angeles film from "the illusion that Americans should be a great people for raising, and a similar level, this heavy barrage of commercial traps for humans." Especially in quel mondo, in cui il limite tra Dio ed il Capitalismo appare terribilmente sfuocato. Nel 1992, la produzione trovò opportuno realizzare un Director's Cut, per adeguare l'opera ad un gusto più moderno (il pubblico lo chiamava Blade Crawler,che significa “strisciante”). Troppo lento. Troppo retrò. Indigeribile per gli stomaci adrenalinici della nostra monocultura, che divora, assorbe e ricicla ogni universo esotico e lo risputa normalizzato alle regole del mercato. Ridley Scott supervisionò il progetto in maniera superficiale e la lavorazione fu piuttosto sbrigativa, ma non intaccò l'opera. La amplificò. Il Director's Cut aggiunse nuovi strati concettuali, maggiori ambiguità, più ritmo. Il nostro Descartes With gun was radically revised, suggesting that he might be a replicant. The bases on which it rested our interpretation of the film evaporated, leaving us lost in a sea of \u200b\u200bmirrors and ambiguity.
Which brings us to 2007, a year that gave much to the fringe lunatics of science fiction. After seven years of legal battles, Blade Runner: The Final Cut arrives in Venice and maintain, even if it were needed, as a possible starting point of thought pop in the 21st century. It 's a supercompressione of Badruillard, a quick dose of postmodernism cut with strong pulp. The Final Cut does not substantially alter the film, but corrects some distortions due to mounting construction precipitate of the previous version. I guess, seeing through the membrane of the cinema screen, this can only grin left with the passage of time more and more alike. One of its main pillars, on a narrative level, and the method VoightKampf. With this test, the hunter of androids are able to distinguish replicants from humans. Put them under stress with emotional questions and gruesome stories and then measure the emotional reactions: only human beings "inauthentic" do not feel empathy. The entire film leads us to identify in the androids and challenges our emotions. It 's a test VoightKampf. The guinea pig is you.
This kind of metanarrative, which is based direttamente al concetto di “iperrealtà” postmoderno, è la chiave di lettura privilegiata per chiunque voglia spingersi oltre il film e ricercarne le profonde radici. Quando, venticinque anni fa, Blade Runner si impose nell'immaginario collettivo, ci venne detto che era tratto da un oscuro e quasi sconosciuto romanzetto di un autore pulp. Un tipo strano, che scriveva opere con titoli come Gli Androidi Sognano Pecore Elettriche? (1965) e passò tutta la vita a descrivere le realtà artificiali di cui aveva paura. Parliamo di Philip K. Dick. Una veloce indagine nella mitologia personale dell'allora anonimo autore, ci mostra uno scrittore di science fiction popolare che sniffava speed quotidianamente ed era convinto che the FBI spying. He let the little notes in the garbage can in front of his home, in which he denounced his friends and acquaintances to the police alleged that they should withdraw the "hot material." He worked in a frenzy, with peaks of 4 books a year and writing session of 96 hours straight. When he left the planet earth, left behind five ex-wives, 121 short stories, novels and sixty a personal journal of 8000 pages, which were meticulously recorded the messages that God sent him through a pink laser beam. Or at least that's what he believed.
Philip K. Dick lived in a world of his creation, in which technological progress, market religion and mass media were mixed in an explosive cocktail that destroys any pretense of objective reality and eliminates any freedom. Let me be clear, he was a maniac. And that's why we like her. Philip K. Dick lived and commented on the 21 st century with fifty years in advance. The novel from which it originated Blade Runner contains the nucleus of all the problems that science fiction and modernity are still struggling to understand and overcome. As I write, technical zealous San Diego produce artificial chromosomes, leading eventually to the creation of real replicants. Anyone can connect to the internet and live your life in the virtual world of Second Life. E 'in a war of which we know nothing, except what we are shown through television by skilled manipulators embedded. All these topics, and a thousand others, are easy to find between the lines the writer's "crazy", he intuitively grasped today's postmodern anima mundi. We read in his personal diary, written together with God (or his): "The world is a hologram. We hypostasis of information, encoded in a language that we have lost the ability to decipher ". This idea, taken up obsessively in dozens of short stories and novels, is the new paradigm of science fiction, popularized by films like The Matrix . Throughout his life, Philip
Dick, as Deckard, attempted to distinguish reality from artificial ones profoundly human. Through literature, his personal method Voight-Kampf, found the spark of empathy as the only distinction between men and robots. Besieged by a lunatic reality empty and ephemeral, subject to the mental yoke of propaganda and marketing, we can only shake between us, socialize. And resist. Because, as he said in 1972, "in a totalitarian society where the caste is omnipotent, the fundamental values \u200b\u200bof the true human are: cheat, lie, evade, falsify, to be everywhere, scrubbing technology authorities with equipment made in his garage ". In 2007, coinciding with the projection of Venetian The Final Cut, The Library of America published for the first time the novels of Philip K. Dick, making him permanently into the pantheon of high literature. The mad prophet has wandered as a nomad between ontological divinity, power and individuality, looking for traps in the theater world. His wisdom is the search for knowledge, the relentless Cartesian doubt that dissolves the certainties in the search for truth. Dick loved the eighteenth-century poetry of the author Henry Vaughan. As Erik Davis points out, we can find it in the last verses of Man: "With its swirling research, man is the shuttle to which God imposed the bike, but not quiet."
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