The film "Blade Runner" (1984), by director Ridley Scott, takes place after the solar system's colonization by humanity in future 21st century-Los Angeles. The film explores and reveals artificial constructs that resemble micro-organisms in the depicted period. As a result, Deckard is tasked with the responsibility of exterminating four human replicants that have migrated into Earth illegally to extend their engineered, short lifespan. The scene takes place a short time after Deckard retires two human replicants and discovers the location of the two remaining replicants. It occurs as he hunts down Pris and encounters Roy Beatty climactically. The film is considered a great piece as it employs its attention to interesting details and visual style, which combines unreal neon and aesthetic features with recognizable elements of the current Los Angeles (Bordwell & Thompson, 2013).
The mise-en-scene that was carefully crafted to reveal the reality of the immediate world surrounding the unfamiliar setting of the scene fits in the story in a recognizable manner (Bordwell & Thompson, 2013). The establishing shot that takes place at 1:28:38 cues the audience into Pris' hiding spot where a modern classical apartment occupies the shot's foreground. On the other hand, the background of the shot is dominated by an imposed neon cityscape. Conceptually, it reveals the literal divide between the story's brave new world and the classic, normal (familiar) human society. Throughout the scene, Deckard straddles the line between a darkened past and mysterious future with two buildings set far apart in a juxtaposing trick of perspective (Scott, 1984). To achieve the full import of the movie, Ridley Scott integrates the immediate story with predictive levels, mind control levels, and deepest levels of archetypes, myths, and the initiatory transformation of alchemical occult. Throughout this shot, the audience stays with Deckard as he is grounded by the eye-level shot of the camera although the unity is divided when a car breaks the still scene by flying over the camera (Bordwell & Thompson, 2013).