rt by ecological disaster – yet Scott seems to refrain from laying this responsibility at any particular individual's feet. As Timberman points out, there are no scapegoats in the film. It is technology itself, Timberman claims, that is responsible; it seems however more likely that Scott is accusing those abusers of technology who have taken it for granted. The technology itself, embodied in the Replicants and less importantly in J. F. Sebastian's engineered friends, are seen as somewhat innocent victims. By the end of the film the Replicants have been redeemed, although we are never entirely distanced from the knowledge that technological advance leaves a lot to be desired, and fear of its implications is justified.
             The characterisation in Blade Runner has been seen as somewhat lacking, and without the background incidentals which provide a great amount of information, Scott's work might be described as little more than a traditional search and destroy story. We see very few white people, and none with any remarkable wealth – the majority of those have already left for the Off-world colonies in order to begin anew. The ones who are left behind are all those who today live largely on the margins – or are thought to belong there. Social and racial minorities crowd the streets of Scott's Los Angeles, and are put on display for us in the scene where Deckard pursues Zhora with the intent of "retiring" her. Zhora contrasts sharply with the strangers surrounding her, seeming to us the least strange and most human amongst the crowd. Others wear non-human, insect headsets and other such futuristic appendages.
             Throughout the film it is made clear to viewers that environmental and political apocalypses are not the only threats, and that there is a direct correlation between these and corporate apocalypses. The notion that corporate cultures would end up dominating politically and socially was...