The difference between the styles of the new and old editions of “The Blade Runner”: invisible and visible

“Blade Runner” is a movie about “invisible”, and
“Blade Runner 2049” is a movie about “visible.”

─ ─ Out of the theater, my mind did not consciously come up with this idea.

Before talking about this, let’s talk about the original novel. For many people, “Blade Runner” has long been synonymous with Cyberpunk’s art style: the sci-fi speed and the reality of the third world’s hybrid, the future of science and technology buildings are strewn with dirty streets, that bloated The chaos, the filth of dirt, the dragons and snakes, and the post-modern life of the mixture of Chinese and Western, are all revered by the future generations. However, the original novel “The Blade Runner” will be a dreamer who will dream of an electronic sheep? (Do Androids Dream of Electric Sheep?, 1968) There is not so much visual narrative about the world view. Instead of writing a sentence “to the end”, it will be changed. It is “short”, “high”, “small”, “big”, “old” and “new”. The only real scribble scene in the book is this:

“He lives alone in this decaying concealed building with thousands of unmanned houses. Like all other buildings, this movement has only faded day after day and become a more ruined ruin. In the end, everything in this building will be scrapped together, become blurred, and it is difficult to separate each other, leaving only the pudding waste, piled up in the ceiling in every room. 』

“There is a vagueness and it is difficult to distinguish each other” – this sentence is the theme behind all the visual styles of the 1982 “Wingskiller”. In a word, it is to make the audience “invisible.”

Different from the smooth and beautiful appearance of normal movies, the picture of “Blade Runner” is full of obstacles that hinder the audience from seeing at a glance. Colorful neon-sparking Kowloon Walled City signboards, complicated stairways, irregularly thrown indoor furniture, and sharp-edged chairs, these objects keep watching the audience’s sight… these obstacles From time to time, the object obstructs the perspective of the line of sight of the audience, and it is a thousand times. When the light and dark contrasts are extremely strong, the large-area shadows appear from time to time, but the lights are often swayed (imitation from the black film (Film noir) Techniques) On a stack, it is even more distracting of these cluttered images, overlapping each other. Stacking, overlapping, and overlapping… The flow shielding formed by the three obstacles of scenes, props, and lights completely deprives the audience of the impulse and the eyeball.

This is completely different from the logic of a normal movie. In fact, the longer the film length, the more physics the audience will see. However, in the “Blade Runner”, things are reversed. The physical discomfort that these superimposed pictures will inevitably bring in the first time (even if the obstacle itself is sometimes beautiful), so that the viewer will not stop watching every scene. Physiology is psychologically reminded that you can’t see some corners and things; as the story gets more and more, things that you don’t see gradually accumulate, and the fact that “invisible” gradually turns into a specific cognitive message, so that the audience will eventually produce one. The illusion of the stock: Is it something I can’t see, is it more than I saw?

Therefore, this “invisible” private imagination, let the art into aesthetics, gave the “Blade Runner” a layer of white beauty. Just as the problem of the icy machine of The Voight-Kampff machine is so poetic with observation of life, as if the silver-wing killer really wants to test not the Replicant but the poet (although copying people too) It’s really like a poet in the world. This bloated, chaotic, filthy dirt, dragons and snakes, and a mixture of Chinese and Western dirty towns, because of their incomprehensibility, created a layer of mysterious rituals in the hearts of the audience. Like space. If the story of the original story of the novel is to dispel the mysterious veil of religious rituals layer by layer with a sound rational debate, the 1982 film “The Blade Runner” is to remove the religious story on the one hand, but on the other hand In a silent visual style, this mysterious and unique aesthetic charm is re-applied to this cyberpunk city pool and the male lead Rick, a very inefficient but poetic pursuit, pervasive, omnipresent and innocent. No.


Therefore, the audience will inevitably be aware of how strange and heterogeneous the “Blade Runner 2049” is a sequel.

Not only because the visual style of “Blade Runner 2049” has changed from cyberpunk to Wasteland; it is because the thinking behind this style is completely complete with the first episode “The Blade Runner”. It’s all the opposite – it wants the audience to “visible,” and the clearer the better.

At the beginning of the movie, a large pupil with a large screen like a screen emerges from the front; the next scene, an aerial shot, the silver-painted future farmland spreads across the flat land. The shape of these farmland is so similar to the surface of the pupil, as if the film was just looking directly at the audience, observing whether the audience is guessing whether this scene is only to pay tribute to the first episode; if so, then it is too light to look at “I” The Blade Runner 2049″! It seems to be such a provocative scene.