Scott’s cyberpunk world of mas media and inequality, a conflict exists in the metropolis between the human defined as a mere object of economic relations and the human as a unique and independent being.
Scott’s extension of Shelley’s world out of synch with the harmony of nature is made complete.
The traditional science fiction colours are exploited her by Scott, he uses blues and oranges as contrasting images to highlight the artificial (blue) and the humane (orange).
In this scene the colours begin to blur and mix, as we begin to question Deckard’s heartless pursuit of that which he feels is inferior, such a division between replicant and human poses a central moral problem: what does it mean to be human?
FRANKENSTEIN: Shelley also uses the Monster’s narrative as a means of critiquing her own society.
The daemon represents the oppressed class in society, and thus both the French revolutionary mob and the English industrial working class.
Shelley warns European ruling classes they are creating a terrible nemesis for themselves, by keeping the common people in a despair that will stoke the flames of destructive fury.
The Monster is an innocent observer and his uniquely ignorant point of view enables Shelley to strip away our familiarity with society and perceive it afresh.
The score is drenched in reverb in an ominous outlook on the future of industry; it forms the aural equivalent of the oppressive haze and mist that veil the film’s every scene.
The mood of paranoia evoked parallels the long lament for humanity’s loss of innocence, the same innocence lost in the industrial revolution of Shelley’s novel, when nature and humanity are not living in harmony with each other.