A Study of the Impenetration of the Human and the Technological in Science Fiction Film － Revisiting Blade Runner－ Michael A. Unger Graduate School of Media, Sogang University 僝. Introduction As of this writing in 2015, thirty-two years have passed since Ridley Scott’s seminal, dystopian, science fiction film Blade Runner (1982; “The Director’s Cut 1992) premiered to audiences and critics alike, creating a significant shift, both aesthetically and thematically, in the genre of science fiction film. One may ask what reason is there to re-examine this already much discussed and written about film that went from receiving a lackluster response in its initial reception to being embraced as a cult film and eventually achieving what Marcus A. Doyle and David B. Clarke describe as “the oxymoronic status of a canonical postmodern cultural artifact.” 1) My purpose in this revisitation of Blade Runner, besides analyzing its impact on the style of cinematic cyberpunk that changed the look of science fiction film, is to examine how the film still addresses one of the most significant aspects of our contemporary, neoliberal global world 1) Marcus A. Doel and David B Clarke, “From Ramble City to the Screening of the Eye: Blade Runner, Death and Symbolic Exchange”, in David B. Clarke (ed.), The Cinematic City (London and New York: Routledge, 1997), p.141. A Study of the Impenetration of the Human and the Technological in Science Fiction Film 연구논문