Motion pictures, or films, are in a medium of visual art that affect people all over the world in countless ways. Films can move us to tears, make us laugh, scare us or heighten our anxiety, or tell us important messages. Cinematography, the art of making motion pictures, is precisely how films are formulated and designed to make people affected in these specific ways, if not the most important element in film production.

            One of the most acclaimed films in the 1980s is Ridley Scott’s film titled Blade Runner. In this film, the blade runner Rick Deckard, played by Harrison Ford, tracks down and tried to exterminate four replicants who escaped from space who seek their creator in order to extend their lifespan. This film exemplifies the introduction of computer-generated imagery, the importance of music in films, and also illustrates many outstanding cinematographic elements.

            In the film Blade Runner, every encounter that Rick Deckard has with each of the rogue replicants is punctuated, dramatic and thoughtfully put together cinematographically. The first replicant that Rick Deckard suspects is one of the four space escapees is Zhora. Like the scenes that Rick Deckard has with all of the other replicants, this scene that depicts his encounter with Zhora is carefully formulated in its camera angles and filming technique and cuts, its lighting and use of music and sound, and its special effects.

            To start off, the scene begins with Rick’s first glimpse of Zhora, which he does inconspicuously behind a newspaper. The camera is in constant movement to capture, never staying level, as a means of capturing the hustle and bustle of the crowded hallway that the scene is taking place at. The energy and vigor of the scene is further emphasized by the pulsating techno music in the background.

            Once Rick and Zhora enter the dressing room, the camera angle stays mostly fixed on Zhora, following her movements as she gets undressed and is interrogated by Rick. This focuses on Zhora’s facial expression, which turns from sultry and politely pleasant to suspicious and guarded. Once Zhora enters the shower, the light behind her as she gets in creates a backlighting effect while in the same moment deep, almost menacing musical tones are start playing. The scene cuts back and forth from Zhora to Rick in cuts that become shorter and more suspenseful. The lighting on Rick also darkens his face and profile, stressing the increasing seriousness of the situation and showing Rick preparing for direct confrontation with Zhora. When Zhora exits the shower and keeps up the playful charade with Rick, the cut continues on longer than expected and remains on the two. This increases the anticipation of the viewer.

            Suddenly, Zhora attacks Rick, the angle turned up to Zhora’s profile to make her profile daunting and predatory after Rick is down, and then the angle looks down on Rick where Zhora comes down in an attempt to choke him. Even when people enter the room, the camera is still focused on Zhora’s expression, which turns to the door, and the camera follows her as she runs out of the room and into the streets with Rick hot on her trail.

            Again, the camera view is in constant movement and moves with Rick’s searching eyes and with the movement and din of the city crowds. Fast tempo, pounding music insinuates the thrill of the chase. The scene becomes a series of fast cuts upon Rick catching sight of Zhora, both of their profiles constantly being blocked and then exposed by dark figures and vehicles.

            The scene follows Rick and Zhora until Rick gets a clear shot of Zhora, the camera focusing on Rick’s face and the confidently pointed gun. The scene’s time frame starts to slow down once Zhora crashes through the first set of windows, creating immense dramatic effect. Then, finally, Rick’s third bullet fires and the scene cuts to a dramatically slowed down, full-frontal view of Zhora getting shot. The timeframe slows even more and soon the only sounds that can be heard are the tones of the sultry street music and an underlying pulsing heartbeat.

            In short, the various cuts and camera angles, especially the use of short jump cuts, the contrast of lighting, and the use of music and visual effects all helped this scene in Blade Runner to achieve the desired affects; the audience can easily follow the scene from Zhora’s underlying suspicions of Rick to Zhora’s slowed, dramatic defeat.

Simply put, cinematographic elements and the thoughtfulness and techniques that go with them are extremely vital to the overall affectedness of films to their audiences. Stories can be filmed in almost any way, but paying particular attention to cinematography when filming creates maximum and excellent affect.

Works Cited

Barsam, Richard and Dave Monoham. Looking At Movies: An Introduction to Film. W. W. Norton & Company

Blade Runner. Dir. Ridley Scott. Perf. Harrison Ford. 1982.