Blade Runner (1982), directed by Ridley Scott and adapted from Philip K. Dick’s Do Androids Dream of Electric Sheep? (1968), incorporates the media of film and photography and utilizes various filmmaking techniques, including cinematography, sound effects, and dialogues, to reflect on the complex relationship between humans, technology and power. Through cinematographic techniques such as light and dark contrast, shifting eye-level and high camera angles, as well as geometric patterns, the film portrays a technologically-advanced futuristic city and its underlying issues of power struggles and social hierarchy. The portrayal of replicants, through static and moving images and sound effects, emphasizes their close resemblance to humans, particularly their performance of emotions, and how technology alters the fundamental concept of humanity. Photography, as a medium, captures an unreliable and incomplete moment of childhood to expose the dystopian nightmare of memory manipulation that severs the connection between memory and identity. This article analyses Blade Runner as an intermedial narrative that highlights the tension between the deceptive appearance of a futuristic city, with flying cars, replicants, and other technologies created for human convenience, and the harsh reality of posthuman crises such as social hierarchy, technological dominance, memory manipulation, and replicant rebellion.

《银翼杀手》（1982），由雷德利·斯科特执导，改编自菲利普·K·迪克的《仿生人会梦见电子羊吗？》（1968），结合了电影和摄影媒体，并利用各种电影制作技术，包括摄影、音效和对话，来反思人类、技术和权力之间的复杂关系。影片通过明暗对比、视线移动、高摄影角度以及几何图案等电影技术，描绘了一个技术先进的未来城市及其权力斗争和社会等级制度的根本问题。通过静态和动态图像以及声音效果对复制人的描绘，强调他们与人类的密切相似性，特别是他们的情感表现，以及技术如何改变人类的基本概念。摄影作为一种媒介，捕捉了童年不可靠和不完整的时刻，揭露了记忆操纵的反乌托邦噩梦，它切断了记忆与身份之间的联系。本文将《银翼杀手》作为一种中间叙事进行分析，强调了未来城市的欺骗性外观（拥有飞行汽车、复制品和其他为人类便利而创造的技术）与后人类危机（如社会等级制度、技术主导地位）的严酷现实之间的紧张关系。 、记忆操纵和复制人叛乱。