The fear of robots is recurrent in science fiction literature and cinema. However, I see the robotization of humans in contemporary society is increasing. Identity crisis, automation, dehumanization: what distinguishes human from android? The film Blade Runner, from Ridley Scott (1982), points out aspects of identity, memory, empathy and bond, escaping the Manichean dualism between humans and androids, provoking questions about society and the human condition. The work of art fulfills a visionary function when it captures and translates to the collective aspects of the spirit of the time, transposing into questions and new forms, anticipating and problematizing themes, foreseeing possible solutions, mobilizing the collective conscience. This article presents an analysis based on some thematic snippets from Blade Runner and tries to answer the questions: which mythical themes emerging from the collective consciousness take shape in this classic film? How does the work update the myth?

中文翻译：

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人类：是真是假？人、神话和电影。

对机器人的恐惧在科幻文学和电影中反复出现。然而，我看到当代社会中人类的机器人化正在增加。身份危机、自动化、非人性化：人类与机器人的区别是什么？雷德利·斯科特 (Ridley Scott) (1982) 的电影《银翼杀手》指出了身份、记忆、同理心和纽带的各个方面，摆脱了人类和机器人之间的摩尼教二元论，引发了关于社会和人类状况的问题。当艺术作品捕捉并转化为时代精神的集体方面，转化为问题和新形式，预测和解决主题，预见可能的解决方案，动员集体良知时，它就实现了一种远见卓识的功能。本文根据《银翼杀手》的部分主题片段进行分析，并试图回答以下问题：这部经典电影中形成了哪些集体意识中的神话主题？作品如何更新神话？