Blade Runner is not a pleasant film. Many of its ideas are
most frightening, also the visual images that are used are quite magnificent yet decadent. Blade Runner is all about vision. Vision somehow both makes and unmakes the self in the film creating a dynamic between a centred and autonomous subjectivity and the self as a manufactured commodified object. We are seldom certain of the motivations, which mo
the characters and our protagonist (Deckard, played by Harrison Ford) is not exactly a knight in shining armour. because of this, it seems that to completely understand this film we must look past the actions of the characters and focus instead upon the reasons behind what they do. In an attempt to accomplish this, we will focus on one particular element of the film: It’s allegorical relationship to Christianity. I do not want first to imply that this is the only subtext in the movie, Or
that it is the major force in driving the characters to behave in such a way as they do. When we meet Roy Batty telling Sebastian,
“We’re not computers… we’re physical.”
It has been said that only as you’ve faced death in the face are you truly alive and the Replicants look into death every minute of their lives. This is because although they that one day they will die; they do not know when their clocks will end. Knowing only their life spans, J. F. Sebastian is in a way the “missing link” between the Replicants and their human Creators. He is human in the fact that he was born, rather than created, I find that J.F functions as a symbol of Christ in this film. First he is a composite of man and replicant, just as
Christ is a composite of God and man. Second, just as Christ
lived among men. J.F lived among the replicants. Third, Christ attempted to bring humanity to God, and was killed by
the very people he attempted to help. J.F. Sebastian also attempted to bring a man (Batty) to his maker (Tyrell) and was then murdered for his trouble. You see humanity is brought up for definition in this film, as the replicants are in many ways more human than the “real humans” they are Interacting with. These replicants are artificial organic humanoids, which function as brute labourers. Tyrell in one of the scenes is a perfect symbol of the New Testament God.
o Slower to anger
o Quick to forgive
o He is happy to throw out the past
o Look only at those things which are positive about his children
Batty is not satisfied and begins to make demands of the man who created him? In the end Roy is like any other man, he is aware of his own mortality. As he nears the end of his life, Roy begins to change just like the good thief on the hill with Christ when he was crucified the two men either side of Christ at their hour of need just like Roy one of them changed and Christ forgave. His change is expressed in the film in such a
way that he does not kill Deckard, but saves him from
dropping to his death. Roy batty then becomes a sort of everyman, struggling with what he cannot understand nor change. Just like us sometimes we struggle to understand why things happening to us but eventually we stop trying to alter our fate and instead looks at what he has seen and done.
By the time he dies batty has redeemed him by following in the footsteps of Christ. In the film when batty has a nail in his hand begins to make sense, as Roy is in effect attempting to become Christ like himself. He is also forgiving others as he would have God forgive him. Roy newly purified soul is now free, and on the way upward. The 6 main characters, Rick Deckard, Rachael, Roy Batty, Pris, Zhora and Leon all represent their gender to an exaggerated degree, but this is mainly to its entertainment value. Rutger Hauer is brilliant as the leader of the Replicant band which has come to earth anyway, in search of the secret to extending their life spans. He is in many ways the most developed character in the entire film, as we see him laugh and cry, kill and philosophize. Holden the first Blade Runner we see, is totally lifeless however this was quite probably how Deckard was during his first stint as a runner. The character Roy I think falls into the stereotypical perception of man he was a soldier. The great strength of Blade Runner was it very much I think successfully dealt with the tenuous nature of human life, and examined what in fact makes a human person that is what
“we must ask ourselves that very question”
I find myself pondering on this question,
Is Deckard a Replicant ?
This point is missed by all those who need to determine Deckard’s status, as it seems that the question, which has been asked “Is
Deckard a replicant” has generated more discussion than the existence of God. I myself would argue that asking the question
is more important than determining the answer, anyway it’s not about Deckard it’s about us.
WHO IS VIVIENNE WESTWOOD ?
Vivienne Westwood was born Vivienne Isabel Swire in Glossop, Derbyshire, in 1941 and has come to be known as one of the most influential British fashion designers of the twentieth century. While she is latterly credited with introducing “underwear as outerwear,” reviving the corset, and inventing the “mini-crini,” her earliest and most formative association is with the sub cultural fashion and youth movement known as punk.
Mother of Punk Vivienne Westwood is often cited as punk’s creator, but the complex genesis of punk is also found in England’s depressed economic and sociopolitical conditions of the mid-1970s. Punk was as much a youthful reaction against older generations, considered oppressive and outdated, as a product of the newly recognized and influential youth culture. Creative and entrepreneurial people, such as Westwood, often contribute to an aesthetic that brings a sub cultural style to the forefront of fashion. However, it would be simplistic to claim, as many have, that Westwood and her one-time partner Malcolm
McClaren were uniquely responsible for the visual construction of punk in the mid-1970s, though much of their work captured and co modified the energy and iconoclastic tendencies Of the movement. The New York Effect in the early 1970s, the socioeconomics of New York City were no better than London’s. Local rock groups were reinventing music and style in protest against what had become perceived as the star-centered, showy, and elitist mentality of ’60s super-groups such as the Rolling Stones and the Beatles. These local bands, such as the New York Dolls and performer Richard Hell, were breaking down barriers at the infamous proto-punk club, max’s. Hell was well known for his nihilistic lyrics and wearing of self-styled ripped T-shirts bearing slogans like “Please Kill Me.” The original fanzine of the era, PUNK, was published in New York City and is credited with the first use of the term. Malcolm McLaren, Westwood’s boyfriend and “partner in crime,” was living in New York during this time and briefly managed the New York dolls. According to punk lore, McLaren took this radical New York aesthetic back to London, where he opened the SEX clothing shop with Westwood and managed the Sex Pistols, creating a media frenzy and a prosperous symbiotic relationship between music and fashion that effectively set the tone of popular culture for decades to come. Westwood’s dialogue with the past intensified in her work from the mid-1980s, reaching back to the Tudor period in her Cut and Slash men’s and women’s collections (Spring/Summer 1991), with their machine-slashed and frayed denim, silk and knitted wool layers revealing unexpected color and pattern when worn. In the Portrait collection (Autumn/Winter 1990–1), her most opulent to date, Westwood drew inspiration from the Wallace Collection of eighteenth century French paintings and decorative arts assembled in the nineteenth century. Her deconstructed and pared-back interpretations of dress styles as diverse as the coquettish sack-back dresses depicted in Watteau’s paintings of the 1720s or Boucher’s shepherdesses’ corsets bring the dress codes of the Enlightenment into the new light of contemporary manners and attitudes.
Inspired by the seventeenth century French essayist, La Rochefoucault, she revisited this theme in her Spring/ Summer 1996 collection, Les Femmes ne Connaissent pas toute leur Coquetterie (‘Women do not understand the full ext ent of their coquettishness’) with body extensions such as padded busts and hips and metal cage bustles creating an exaggerated hourglass silhouette that took some of her designs close to the realm of the unwearable. Others however, such as the sumptuous, strapless sack-back Watteau evening dress of tumbling green and lilac silk taffeta (famously modeled by Linda Evangelista), brought these exaggerations together in
an unmistakably contemporary statement. A later collection, Café Society (Spring/Summer 1994), again explored the limits of clothing form in a homage to the corseted, S-shaped silhouettes of the English-born Charles Worth and son, Jean-Philippe Worth, couturiers working in late nineteenth century Paris, whose extravagant designs defined the belle époque. Claire Wilcox notes ‘In Westwood’s clothes, sexuality is determined by sensation. …[Her] intention is arousal, both physical and mental, and to instill the wearer with the confidence that clothes bring not only private and public pleasure but also an increased awareness through dressing up. In her interpretations of historical dress, Westwood has continued to emphasize the idea of constriction as a way to define the body and its movement and to direct posture. From her early bondage trousers, corsets and bodices to her highly structured tailoring and more recent, looser and deconstructed cutting, she draws attention to the figure through exaggeration and distortion of the body shape. A confident wearer of her clothes will find that with these techniques, Westwood has found a way to theatricals arousal and eroticize power, while celebrating skill and the craft and history of materials. To place such contemporary pleasures in the context of history and cultural interchange with wit and panache continues to be Vivienne Westwood’s unique contribution to fashion and design. Vivienne Westwood was possessed of a divine lunacy, while the Christian Dior collection expressed an irresistible urge to decorate everything in sight, including sportswear. The Westwood collection was lovable in a slightly batty way; Dior’s was awesome. The two represent the extremes to which fashion has gone in the fall and winter shows here. There is something for everyone, including clothes nobody ever thought they wanted. John Richmond, swelling the number of British designers who show their clothes here instead of in London, followed Ms. Westwood. Valentino, the Italian designer, who also showed here, comes from the same couture tradition as Dior, but his clothes are less elaborate. Probably the most useful style at Dior was a white cotton shirt that was shown with slinky brown leather skirts. Gianfranco Ferret, who knows how to glorify sportswear, cut it with dash. Sleeveless leather coats over knitted separates made an impact. But their contrasting piping and bandings as well as the fluffy fur borders made for too much fuss. A jacketed smock the color of mulled wine over snug pants showed the designer at the top of his form. A hot-pink coat over a white shirt and navy pants made a striking, clean-looking outfit.
But too many folds and ruffles and too much elaborate jewelry were distracting, calling attention to the luxury and playing down the cut. The opulence suggested couture, but the clothes were ready-to-wear. The line between the two is obviously blurring. One of the more endearing notes in the Westwood collection was a model in pin curls showing off nightgowns and lingerie. Other times, they wore fright wigs. Linda Evangelista, Christy Turlington, Naomi Campbell and other top models obviously didn’t mind. They seemed to be having fun in outrageous fake fur coats, bustle-back suits and evening clothes that parodied Hollywood glamour.
“…it’s so important to look to the past. Because
people did have taste, and they did have ideals
of excellence, and those things are not going to
come unless people look at the past.”
Ms. Campbell even managed to smile when she fell off her sky-high platform shoes, a Westwood trademark, picked herself up and continued down the runway, leaving a trail of pink feathers. With the feather boa, the model was wearing a blue velvet jacket with a plaid kilt from the best sequence in the show, which featured tartan plaids. Of course, Ms. Westwood tarted them up a bit with corset tops and what she called miniskirts. Vivienne Westwood designed a collection named salon in the spring/summer 1992, taken from her book Vivienne Westwood
“Oscar Wilde said that he knew of a lady in England who tried to open a salon but found that she opened a salon”.
After nine years of absence, Vivienne Westwood is to return to London to show her Red Label collection for Autumn/Winter 2008 at London Fashion Week in February. The Red Label collection was launched in 1994 to offer Westwood’s inimitable style to a wider clientele. At its core, the label combines Westwood’s continued interest in Savile Row tailoring and French couture. As Westwood’s second line of women’s wear the Red Label provides a sexy and elegant look, which differentiates it from the more casual Anglo mania collection. It is composed of exquisitely cut tailoring and dresses for both day and evening as well as Westwood’s signature knitwear. The Red Label is targeted at a sophisticated fashion consumer who does not follow trends but looks for innovative design with a strong traditional British sense of style.
Vivienne Westwood says:
“We are back by popular demand. The sales of all of our lines are increasing and we decided that the Red Label, which is successful worldwide and so popular in the UK, should have its own show.”
Scottish singer Sandi thom has been approached to model and sing at Vivienne Westwood’s forthcoming catwalk show to celebrate New York City’s Tartan Week. Westwood, known for her love of tartan in her fashion designs, approached the I WISH I WAS A PUNK ROCKER hit maker to star at the Dressed To Kilt show next month. Thom enthuses, “I’m wearing a Vivienne Westwood dress in tartan and playing a tartan guitar. “I’m really scared at the fact that I’m going to be surrounded by a load of skinny six-foot models when I’m five foot two. But it’s going to be great to be back in New York - I love it there. “It feels good to be representing my country in the official Scottish dress too.”
Westwood’s celebrity fans include Sakito of Nightmare (band), Duran Duran, Adam Ant, Gwen Stefani, Jerry Hall, Jean-Yves Thibaudet, Mick Jagger, Pete Burns (who has been wearing her designs continually for more than 20 years and also designed and sold some pieces for VW in the 70s), tetsu of L’Arc~en~Ciel, Mika Nakashima, Marilyn Cole, Shiina Ringo, Marilyn Manson, Toshiya of Dir en grey, Aoi of The Gazette (band), Kanon of Antic Cafe, Fearne Cotton, Ai Yazawa, Hirofumi Araki of D-Boys Tracey Emin, Anne Suzuki, Naomi Campbell and Kitty (from Notorious Marmalade)
The vintage fashion came from Rood Vintage Rood Vintage showcased some of their latest pieces at the Liverpool Fashion Week event last night. The vintage clothing store showcased that Vintage fashion is timeless and will forever have a place in the fashion industry. By updating pretty prom dresses with Dr. Martens and vintage slip dresses with workwear boots they made the vintage pieces current. The standout piece has to be the finale Bridal gown, with ivory silk and delicate pleating on the skirt – it was classic beauty at its best. Take a look through some of the pieces below, which is your favourite?
Britain’s women took Japan to the wire in their quest to win a set in the London 2012 Sitting Volleyball tournament but the Paralympic newcomers ended the tournament in eighth place after another 3-0 defeat at ExCeL this morning (Thursday).
Britain put the lively Japanese under pressure in a hard fought first set and almost clinched it after 25 minutes before Japan edged the verdict, 25-23.
The second set was close too, but Japan eventually won it 25-19 before running out winners of the classification match with a more comfortable third set victory, 25-13.
The result means Britain finish eighth on their Games debut, without having won a set from their five matches but with pride intact after another performance which justified their presence at London 2012.
Coach Steve Jones’ team was formed less than three years ago and won a host nation place at the Games. But they acquitted themselves well against the best sides on the world and almost took sets off group winners Ukraine and Brazil, as well as the Japanese.
Britain’s 40 year old captain Claire Harvey said the team has shown how far they have come in such a short space of time.
“This was always going to be a very tough tournament,” she said. “It was all about gaining experience in this sort of arena, which you don’t get anywhere else, and to take our sport into Rio.
“It was all about gaining experience in this sort of arena, which you don’t get anywhere else, and to take our sport into Rio.”Claire Harvey
“Volleyball England, the BPA and ParalympicsGB have been amazing in supporting us and getting us from a group of people who had never played volleyball before to where we are now in two and a half years.”
Japan had proved to be tough opponents when the two sides met in the group stage, having improved considerably since they failed to win a match in Beijing.
Yet, despite their 3-0 defeat in that meeting four days ago, GB went into the game with hopes of revenge and great support from the crowd, especially for Martine Wright, whose return from injury in the London bombings has been one of the stories of the Games.
Britain began in determined mood, matching the Japanese play for play in the opening stages. But some great blocking by Japan’s net players, combined with some deft spikes and shots into the spaces, left the Britons stretched and out-manoeuvred.
In the end Japan simply had a little too much experience.
“We are disappointed, obviously,” said Wright. “But people have to remember that Japan have been to Beijing already and have got one Paralympics over us.
“I feel proud of what we’ve done in this competition. We are the first ever women’s Sitting Volleyball team to be entered by GB so we’ve got to take all these experiences. It’s been absolutely amazing. We’ve got to take them forward, learn from it and come out fighting again.
“It has been an emotional roller-coaster but the strongest emotion I have is pride. I feel so so proud of every woman in this team that we have done our absolute best on court.”Claire Harvey
“It has been an emotional roller-coaster but the strongest emotion I have is pride. I feel so so proud of every woman in this team that we have done our absolute best on court.
“I feel proud to say that crowd out there is our crowd, it’s GB, and without them we wouldn’t have been able to perform the way we have performed.”
For Harvey, who lives in Ashford in Kent, it’s now time to look forward to the next challenge.
“We are already looking ahead to Rio,” she said. We will have to qualify through Europe which is a very tough pool to play in and that is why it was so important to come here to gain the experience and play the competition we are going to have to face in Europe.
“It’s time to regroup. We’ve got a lot of positives to take away but we’ve got a lot of hard work to do too.”
Londoner Wright added that she was happy her new-found fame had helped raise the profile of disability sport.
"Everyone involved in this tournament has been great and I’ve loved every minute of it. It’s been phenomenal.”Martine Wright
“I feel a responsibility to talk about disability sport, I am passionate about it,” said Wright. “To be honest, I will talk about sport all day long. Everyone involved in this tournament has been great and I’ve loved every minute of it. It’s been phenomenal.”
Maddox and me (Taken with Instagram)