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In 2014 seventeen-year-old Billy Gimp risks great danger as a procurer of illegal medical supplies for a skilled surgeon determined to provide health care for people considered unqualified for legal medical aid.

Contents:

• 1 - Introduction (Retrofitting Blade Runner) - essay by Judith B. Kerman [as by Judith Kerman]
• 4 - The Android as Doppelganger - essay by Joseph Francavilla
• 16 - Technology and Politics n the Blade Runner Dystopia - essay by Judith B. Kerman
• 25 - Metahuman 'Kipple' Or, Do Male Movie Makers Dream of Electric Women: Speciesism and Sexism in Blade Runner - essay by Marleen S. Barr [as by Marleen Barr]
• 32 - Androids as a Device for Reflection on Personhood - essay by Marilyn Gwaltny
• 40 - The Cutting Edges of Blade Runner - essay by Leonard G. Heldreth
• 53 - The New Eve: The Influence of Paradise Lost and Frankenstein on Blade Runner - essay by David Desser
• 66 - Energy, Entropy, Empathy: Blade Runner and Detective Fiction - essay by W. Russel Gray
• 76 - Phillip K. Dick's Androids: Victimized Victimizers - essay by Aaron Barlow
• 90 - "There's Some of Me in You": Blade Runner and the Adaptation of Science Fiction Literature Into Film - essay by Brooks Landon
• 103 - Phillip K. Dick on Blade Runner: "They Did Sight Stimulation on My Brain: - essay by Gregg Rickman
• 110 - Race, Space, and Class: The Politics of the SF Film from Metropolis to Blade Runner - essay by David Desser
• 124 - Primitivism in the Movies of Ridley Scott - essay by C. Carter Colwell
• 132 - Script to Screen: Blade Runner in Perspective - essay by William M. Kolb
• 154 - Blade Runner Film Notes - essay by William M. Kolb
• 178 - A Silver-Paper Unicorn - essay by Rebecca Warner
• 185 - Subverting the Disaffected City: Cityscape in Blade Runner - essay by Steve Carper
• 196 - The Music in Blade Runner - essay by Andrew Stiller
• 201 - Creative Synergy and the Art of World Creation - essay by John J. Pierce
• 212 - Crashing the Gates of Insight: Blade Runner - essay by Jack Boozer, Jr.
• 229 - Bibliography (Retrofitting Blade Runner) - essay by William M. Kolb

The 1992 release of the "Director's Cut" only confirmed what the international film cognoscenti have know all along: Ridley Scott's Blade Runner, based on Philip K. Dick's brilliant and troubling SF novel Do Androids Dream of Electric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made.

Future Noir is the story of that triumph.

The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.

A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.

Rediscover the groundbreaking magic of Blade Runner with this revised and updated edition of the classic guide to Ridley Scott's transformative film--and published in anticipation of its sequel, Blade Runner 2049, premiering October 2017 and starring Ryan Gosling, Jared Leto, Robin Wright, and Harrison Ford.

Ridley Scott's 1992 "Director's Cut" confirmed the international film cognoscenti's judgment: Blade Runner, based on Philip K. Dick's brilliant and troubling science fiction masterpiece Do Androids Dream of Electric Sheep?, is the most visually dense, thematically challenging, and influential science fiction film ever made. Future Noir offers a deeper understanding of this cult phenomenon that is storytelling and visual filmmaking at its best.

In this intensive, intimate and anything-but-glamorous behind-the-scenes account, film insider and cinephile Paul M. Sammon explores how Ridley Scott purposefully used his creative genius to transform the work of science fiction's most uncompromising author into a critical sensation, a commercial success, and a cult classic that would reinvent the genre. Sammon reveals how the making of the original Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry at the time it was made. This revised and expanded edition of Future Noir includes:

An overview of Blade Runner's impact on moviemaking and its acknowledged significance in popular culture since the book's original publication

An exploration of the history of Blade Runner: The Final Cut and its theatrical release in 2007

An up-close look at its long-awaited sequel Blade Runner 2049

A 2007 interview with Harrison Ford now available to American readers

Exclusive interviews with Rutger Hauer and Sean Young

A fascinating look at the ever-shifting interface between commerce and art, illustrated with production photos and stills, Future Noir provides an eye-opening and enduring look at modern moviemaking, the business of Hollywood, and one of the greatest films of all time.

Blade Runner, the ingenious movie version of Philip K. Dick's Do Androids Dream of Electric Sheep?, has been widely acclaimed as one of the best sf films. With Dick long gone, Jeter undertakes the further adventures of twenty-first-century L.A. detective Deckard, whose recent narrow victory over a violent android "replicant" prompted a retreat to the wilderness with his replicant lover Rachel. But there is at least one more vendetta-minded replicant still on the loose. Sarah Tyrell, sole surviving heir to the powerful replicant-manufacturing Tyrell Corporation and the human model for Rachel, pulls Deckard out of retirement and into a no-win predicament. Not only are there more replicants than anyone guessed, but Deckard is now wanted for the murder of Pris, who was not, as he had assumed, a replicant but fully human.

Is it real or is it a replicant? Doubt is cast on the idenity of just about every character who appeared in either the film or the previous sequel, The Edge of Human (1995). The action opens in the orbital studio Outer Hollywood, where a video is being made of Rick Deckard's original pursuit of the rogue replicants, with Deckard acting as technical advisor. After both a replicant and Deckard's former partner are murdered, Deckard storms off the set to head back to Mars, where he lives in squalor with Sarah Tyrell, former heir to the defunct Tyrell company, the original creators of all replicants. Sarah, however, out of her mind with bitterness and boredom, plans to murder Deckard upon his return. Fortunately for Deckard, she is whisked back to Earth by two disciples of her dead uncle, the evil genius Eldon Tyrell. There, she is convinced to reenter the time-warping derelict starship on which she was born, in search of information about her past. If this sounds confusing, it is. Reality could not be trusted in either Scott's film or the Dick novel, and matters have gotten only more complex since Jeter took over the franchise.

Iris, a female blade runner, gets the puzzling assignment to find Eldon Tyrell's owl. Her investigations lead her to loose her job and set her on a quest for answers all over futuristic LA and deep down into the bowels of the defunct and ruined Tyrell corporation. Unbeknown to her, she is being filmed (in order to create a movie!) and all her actions are being pushed towards a final conclusion in which she realises the truth about the replicant program - what its real purpose was (not to serve the off-world colonies), and the truth about herself - why she is such a good blade-runner and why she looks like Tyrell's niece, Rachel...