Sound and Perception in Ridley Scott’s Blade Runner (1982)

This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways in which sound shapes the perception of the image and narrative in Blade Runner. The first part of this paper analyses how sounds come to replace music to characterize moods and atmospheres. Ambient sounds create a concrete, sonically dense diegetic world, while music is associated with an abstract, extra-diegetic world where spectators are designated judges. This contrast is thematically relevant and delineates the struggle between humans and replicants; sound and music are used for their metaphorical implications rather than in an effort for realism. The second part discusses the agency of characters through the sonorousness of their voices and bodies. Intonations, pronunciation, and acousmatic sounds anchor characters’ natures as humans or replicants to their bodies. Yet, these bodies are revealed to be mere vessels awaiting definition; in the third part, we explore how sound is used to craft synaesthetic depictions of characters, revealing their existence beyond the human/replicant divide.