Wie ein menschliches Geschoss

Blade Runner (USA/HK/GB 1982, Ridley Scott)

©Warner Home Video GmbH

"There is an extraordinary moment in Blade Runner when Pris [Daryl Hannah], like a human missile, comes somersaulting straight toward us. One moment she is immobile [...]; the next moment she is galvanized into life, her body moving at the speed of light. The force of her somersault charges the air; reconfiguring space and time, her bodily momentum is transmitted and experienced in the auditorium as bodily sensation. My stomach lurches. It is always surprising this moment, this movement, always and without fail it takes me aback. Yet what can it mean to yoke these incommensurate terms - always and surprising? Let me just say, at this point, that I am both surprised and haunted by this cinematic moment. I can't quite put my finger on the feeling it evokes, though there is a phrase of [Jean] Epstein's that resonates: 'On the line of communication the static of unexpected feelings interrupts us.'"


Lesley Stern (1997): "I Think, Sebastian, Therefore … I Somersault", in: Paradoxa, 3. Jg., Nr. 3-4 (Special Issue), S. 348-366, hier: S. 350. Mit REPLICANT hat Catherine Grant sich dem Essay Sterns in Form eines experimentellen Videoessays angenähert, das zum Großteil aus Einstellungen der beschriebenen Szene besteht.