"2049" is attached to the worldview established in 1982, and it is impossible to expand or even subvert the worldview again. What's more serious is that decades after the passage of time, countless "high concepts" have not only been familiar to us, but have also been thoroughly explored by many other science fiction texts, and there is no longer a so-called virgin land. Pure science fiction lovers cannot but be disappointed that "2049" has been shrouded in an unchanging rigid atmosphere within two and a half hours. Everything in this world has long been shaped, disciplined, and divided, and only technical contributions are left. And strive for perfection: "Blade Runner 2049" cannot be a great and epoch-making science fiction film, because it only completes a reproduction of the existing science fiction world, a certain reorganization and regeneration of phenomena, and a proposition to existing propositions. The re-interpretation of, but nothing to tell in the new space and conceptual world.
We have reached a certain critical point of imagination, and this kind of "despair" may not only be experienced by readers, but the pain of creators should have been more profound. For this reason, science fiction has become an object of intertextuality and a true "world view". For the character, this world in which it exists is unique. In fact, only after the so-called "real world" is blurred can we touch the real and heavy existence in the film; this happens to be a layer of complete extraction of the viewer and the real world. Li: A world composed of a concept, and then feed back, or even counteract the concept itself.
Compared with the deceptive "dystopia" on the packaging, "2049" seems more "apocalyptic wasteland." These two subcultures are quite different. The former has clear ideals and values, as well as a clear stand and direct expression of emotions; while the latter is based on nothingness, questioning existence, and has no accurate value orientation, only double thinking and self-contradiction. The emotions are tangled. The wasteland world of 2049 in this film does not seem to have an intuitive survival crisis. This removes the last backbone to which the plot chain can be attached, and sends the whole film into the category of the author's film.
K, played by Gosling, is named after Kafka, who can’t find a castle, and he is also a protagonist of poetic function of a wanderer: such a protagonist is a superfluous person, an observer, and a wanderer, fundamentally speaking , He has no fundamental purpose of ontological existence. He accidentally encountered novelty in the wasteland world of 2049, and only then did he gain the meaning of action. This is the resurrection of an ancient literary paradigm from "Odyssey" in a sci-fi movie. This copy of the policeman K, is simply a sentimental poet who walks alone in the vast land and has no home to return: the music in "Nostalgia" The historian and the Eastern European director in "The Gaze of Ulysses", in short, an intellectual who exists but is absent, trying to find his self-worth through experience and thinking, a homesick who has no home.
It is this perspective that has caused the so-called "shrinkage of the pattern", because this vast wasteland of 2049 is something that everyone thinks is special but ordinary. Completing the psychological construction of such an existential proposition has become the value of Gosling’s K role itself. In this sense, the grand political existence of Wallace Company and the Rebel Rebels is just a misty background: for a wandering For travelers everywhere, his feelings and self-seeking journey are not about the process and wheels of history, just like Veronica on the way home, watching the overturned statue transported by the truck pass by, just a shot passing by. . So K only performed a water fight in the end, killed one of his ordinary enemies, and assisted in a father-daughter reunion. Therefore, the whole movie seems to be endless, and the grand narratives are incomplete: he was originally It was an ordinary existence with a sensitive mind by accident. He didn't know about the others, powerless and lonely inexplicably.
Through the use of the author's film paradigm in the world of science fiction, "2049" creates an intertextuality with the previous works, opening up a certain channel for the presentation of modernity and the world of science fiction. In the previous sci-fi texts, there was a certain kind of asynchrony caused by disciplinary barriers: the human nature in the sci-fi world is often extremely classical and traditional. On the one hand, this is to strengthen the change and impact of the development of science and technology on human nature, but on the other hand, the creators of science fiction texts themselves still have the confidence and highness of human nature passed down from the age of enlightenment.
The problem is that, instead of using science fiction texts to use high concepts such as AI, VR, interstellar travel, and time-space distortion to torture human nature, human nature itself has been alienated in modern society: "tremor" does not have to wait until 2049, in fact in the eighteenth and nineteenth centuries. The century has already happened, and it has become popular in the field of art.
The countless scene settings and composition of the picture in "2049" undoubtedly give a common sense of contemporary art museum furnishings: dry, pure color, minimalist, empty and oppressive. Hans Zimmer’s soundtrack does not deviate in this sense. The sharp and piercing single tone creates the schizophrenia of contemporary art: the authoritarian aesthetics caused by the pursuit of pure ultimate, and the liberation of human nature and the exploration of human nature’s alienation. The primordial vitality that is inevitably caused by the theme of the novel is inseparable from each other and cancels each other.
So, isn't this the clearest comment on modernity portrayed in "2049"? There are countless sorrows, but there is no way to stop the torrent. Human beings look for discipline in order to be more free, and then bitterly complain about the lack of freedom of discipline. This is a kind of "post-human nature", which has extreme fascist desires, but at the same time it is sincere. In "2049", not only K is indifferent, but all existing characters are indifferent whether they are real people or clones. When a thing called "humanity" is alienated, whether the truth comes from humans or is calculated and imitated is no longer meaningful for comparison and judgment. Even imitated things, such as JOI, will be more real and moving. Some. A classic sci-fi proposition has been almost eliminated in this way, and this kind of intertextuality and cross-border has become reactionary and is moving towards killing the host itself.
Fundamentally, "Blade Runner 2049" is an intertextual interpretation of existential philosophy and modernity critique after reshaping the world of Blade Runner made in 1982 into a modern "dystopia". The position of such a work is embarrassing, but it is also necessary, because it not only from the work itself, but also from the world and readers from which the work is generated, it demonstrates the most piercing and lifeless disillusionment: it summarizes what has happened. The lost future, but withdrawn and unfamiliar, seems to never happen.
So what is the meaning of our thinking and resistance? The significance may lie in: there will be such a team, such a victim, such a lonely hero, with such a work, using commercial means to target business, using modern self-denial, a brilliant, gorgeous, Incomprehensible, doomed suicide.
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