Abstract

ABSTRACT:

This paper considers a series of Blade Runner (Ridley Scott, 1982) paratexts in order to examine the different kinds of memory work they perform and activate depending on the technologies and traditions of representation with which they engage and the contextualizing forces of the sites in which we experience them. Terence Broad's artwork, Blade Runner—Autoencoded (2016)—a version of Ridley Scott's film produced from the memory of an artificial intelligence—is privileged in this analysis, which also considers the Tyrell Corporation miniature, Syd Mead's concept drawings, and the trailer for Blade Runner 2049 (Denis Villeneuve, 2017).

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 129-150
Launched on MUSE
2021-02-11
Open Access
No
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