The Question of Satisfying the Requirements of the canonical Art In the set about of his The New Eve essay, Desser claims the similarity of the new science apologue film of Ridley Scott, Blade Runner, to Miltons Paradise Lost, and Shelleys Frankenstein, two undoubtedly untainted works according to his definition. His definition of artwork worthy to be a part of a canon requires that the work is serious, philosophical, and definitive (53). Taking this as the initial assumption of the author and the concomitant that the two works satisfy this definition proves to us by comparison that Blade Runner should be included into the canon, if every work of cinema can be. The method of his proof of the virtuousness of this piece includes the comparison with the works mentioned above as the ones already accepted as classics. According to Desser. The continuous emphasis of the handed-down themes depicted in the movie, as well as mentioning the accompaniment that even classical art is originally destined for prevalent entertainment creates the base for acceptance of the Blade Runner into the list of canonized works.
        The greatest part of Dessers essay is devoted to the outline of Blade Runner and the two works aforementioned and materialize of these two works on Blade Runner.
He analyzes the closed circuit of the themes of Genesis in Paradise Lost and observes their invocation in Blade Runner. Desser compares the characters of Blade Runner to classical characters like the Devil, God, offer and Eve and the setting to Hell and Heaven. He compares the city, future Los Angeles, to promised land or hell. He compares Batty (a leader of replacing in Blade Runner) to Satan, the monster, the Adam and even Eve. These as well as many other comparisons between the characters prove the authors strong intentions to find and...
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