Blade Runner 30th Anniversary (2012)

(Originally posted on: 11/18/2012)

Apple’s iTunes has this promotional verbiage for the film Blade Runner:

The #1 Sci-Film of all time is turning 30! Visually spectacular, intensely action-packed and powerfully prophetic since its debut. Blade Runner returns in Ridley Scott’s definitive Final Cut, including extended scenes and never-before-seen special effects. In a signature role as 21st-century detective Rick Deckard, Harrison Ford brings his masculine-yet-vulnerable presence to this stylish noir thriller. In a future of high-tech possibly soured by urban and social decay. Deckard hunts for fugitive, murderous replicants – and is drawn to a mystery woman whose secrets may undermine his soul. This incredible version features the definitive Final Cut of Ridley Scott’s legendary Sci-Fi classic. Also includes over three hours of special features with purchases of iTunes Extras.

Rotten Tomatoes tomatometer rating: 92%

Fresh: This is perhaps the only science-fiction film that can be called transcendental.
Owen Gleiberman, Entertainment Weekly, Nov. 8, 2011

Fresh: A motion picture masterpiece on the short list of Reasons Why This Medium is Worthwhile.
Rob Vaux, Mania.com, June 25, 2012

Fresh: Probably close to being on par with Fritz Lang’s Metropolis in terms of grandeur — although of a stunningly different and far more unsettling kind.
Ken Hanke, Mountain Xpress (Asheville, NC), February 19, 2008

Fresh: These days, it’s almost impossible to find a gritty science fiction motion picture that doesn’t owe at least a small debt to Blade Runner’s visual style.
James Berardinelli, RealViews, May 29, 2007

Fresh: It is, in fact, an amazingly sophisticated, sumptuously visionary treatise on the consequences of attaining god-hood.
Rita Kempley, Washington Post, November 16, 2001

Now “#1 Sci-Film of all time” strikes one as just excessive promotional hyperbole. However, this film truly has arrived at a highly regarded cult status over the years and it would certainly be fair to place it in the top ten list. For my personal list I’d place it somewhere in the top five.

Blade Runner is often noted as a breakthrough for its combination of a particular noir style and a futuristic dystopic atmosphere. My own analysis – and is not a surprising finding given that the film is based on a Philip K. Dick novel – is that Blade Runner is really an esoteric work that is laden in meaning through symbolism and allegory.

As I later was writing an analysis of Ridley Scott’s film Prometheus I found that Scott’s three films Alien, Blade Runner, and Prometheus are all interconnected by the theme of the Mesopotamian civilization of Sumer/Akkad.

The film Alien prominently displays the Sumerian Winged Solar Disk emblem in one rather long running scene of dialog, Blade Runner depicts the ruling elites living in Mesopotamian-style step pyramids and relates classic Sumerian theology in allegorical form, Prometheus presents Mesopotamian civilizations as an ancient source of information about the alien race, the Engineers (those that created all life on Earth including our own race – thus corresponding to the Sumerian Anunnaki gods). Prometheus also portrays these Engineers as resembling the Gnostic Demiurge in temperament, which the Gnostic Christians regarded the Hebrew Elohim/Yahweh as the Demiurge – a lesser divinity that is not by any means the most high God or true source of all things (the Hebrews are derivative in terms of cultural influence from prior Sumer/Akkad civilization via their patriarch, Abraham, whom emigrated out of the Sumerian city Ur).

Blade Runner also depicts the Replicant Roy as a Gnostic Revealer and thereby is a catalyst for transcendent awakening in Deckard. The Gnostic Christians viewed Yeshua (Jesus) as a Gnostic Revealer – that he was an ultimate spiritual teacher and initiator into higher truth for humanity. (Philip K. Dick had a transcendental experience in 1974 and became a self-described Gnostic in his last years.)

In all these respects and associations the film Blade Runner was just not a run of the mill science fiction film.

Another great science fiction film, Stanley Kubrick’s 2001: A Space Odyssey relates some of the same concepts that are conveyed in Scott’s Blade Runner and Prometheus films. The screenplay for 2001 was co-written by Kubrick and Arthur C. Clarke. It depicts a highly advanced alien race coming to Earth and intervening with a primitive hominid species from which a technologically adept human race arises as an outcome of that artificial intervention.

This is the very core interpretation of Zechariah Sitchin in respect to his reading of Sumerian theology – Homo Sapiens (Adamu, Adam, Mankind) is an artificial hybrid species. This is the cornerstone concept of Ancient Astronaut Theory; it is the story that Blade Runner tells allegorically; it is the story that Prometheus tells out right; it is the very centerpiece of 2001: A Space Odyssey.

Our best, highest concept science fiction films actually are just a retelling of a very ancient story – one that is at least 250,000 years old.

But the most ancient story not only concerns humanity’s origins as a biological species, it also pertains to our destiny. Consider the “spirit dove” rising toward Heaven. Consider the Christian cross that Elizabeth clings to. Consider Dave returning to Earth as an ascended pure energy being. Our physical manifestation is just a portion of the story, yet it is not the ultimate conclusion of the matter.

Do we have a non-material aspect to our individual existence as these films imply? In the 21st century the answer to this question is known. Really has been since the 1930’s and John Von Neumann’s mathmatical treatment of Quantum Mechanics. Von Neumann posited that the observer of wave function collapse must be external to the physicality of the universe.

Von Neumann argued that the entire physical world is quantum mechanical, so the process that collapses the wave functions into actual facts cannot be a physical process; instead, the intervention of something from outside of physics is required. Something nonphysical, not subject to the laws of quantum mechanics, must account for the collapse of the wave function: the only nonphysical entity in the observation process that von Neumann could think of was the consciousness of the observer. He reluctantly concluded that this outside entity had to be consciousness and that prior to observation, even measuring instruments interacting with a quantum system must exist in an indefinite state.

Von Neumann extended the Copenhagen interpretation by requiring the measurement process to take place in a mind. He was reluctantly driven to this conclusion by his relentless logic: the only process in the von Neumann chain that is not merely the motion of molecules is the consciousness of the observer. His arguments were developed more completely by his illustrious followers, most notably Fritz London, Edmond Bauer, and Eugene Wigner. Wigner, who went on to win the Nobel Prize in physics, wrote, “When the province of physical theory was extended to encompass microscopic phenomena, through the creation of quantum mechanics, the concept of consciousness came to the fore again; it was not possible to formulate the laws of quantum mechanics in a fully consistent way without reference to the consciousness.”

Carter, Chris (2010-08-23). Science and the Near-Death Experience: How Consciousness Survives Death (Kindle Locations 1015-1026). Inner Traditions Bear & Company. Kindle Edition.

Thanks Sir Ridley Scott for Blade Runner.

In the year 2012 – which also happens to coincide with the concluding year of the 13th Baktun of the ancient Mayan Long Count calendar, which has marked off 5125 years since its start – this film speaks more profoundly to us than it did in 1982 as so many are now coming up to speed.

MyCoreArticles (and some related links)
[awakening, synchronicity, Gnosticism, AAT, nature of reality/consciousness, etc.]
rogerv-50-percent

RogerV

~ by RogerV on November 18, 2012.

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