Shadows of Humanity: Exploring Identity and Ethics in Tech-Noir Cinema

Paper by Yutao Geng.

In the course of film history, the fusion of Neo-Noir and Science Fiction has gradually formed a unique genre, known as Tech-Noir. This genre explores complex themes such as human nature, identity, and moral ambiguity by combining the visual style and narrative features of classic film noir with futuristic and high-tech elements. In this paper, I will analyze three classic Tech-Noir films: Blade Runner (1982), Blade Runner 2049 (2017), and Ex Machina (2014). These three films not only inherit the core characteristics of film noir in terms of visual style, character creation, and narrative structure, but also conduct philosophical reflections on human identity and artificial intelligence through the background of science fiction. These films are not only innovations in vision and style, but also a profound interpretation of the dilemma of human nature and technological development in contemporary society. Through textual analysis and citation of academic materials, I will demonstrate how these films express doubts about the boundaries between human nature and artificial intelligence through genre fusion, and reflect contemporary society’s anxiety about technological progress and moral crisis.

In the tech-noir film, the visual style is not only the background of the narrative, but also the core means of conveying the film’s philosophical ideas. In Blade Runner (1982) and its sequel Blade Runner 2049 (2017), directors Ridley Scott and Denis
Villeneuve present a depressing and cold future world through low-key lighting, rain-soaked cityscapes and futuristic architecture. This visual style not only conveys the loneliness of human beings in a technological society, but also highlights the struggle of replicants for identity. As stated in the book Tech-Noir: Film – A Theory of the Development of Popular Genres, tech-noir films “create a futuristic and decadent urban atmosphere through the contrast of shadows and neon, making the confrontation
between humans and technology concrete” (Silver, 262). This visual style is particularly prominent in Blade Runner 2049, where the shots of K walking in the rain and through dark ruins not only show the indifference of society, but also symbolize his confusion about his own identity.

In contrast, Ex Machina (2014) adopts a completely different visual style. Director
Alex Garland creates an image of the opposition between technology and nature
through minimalist high-tech laboratories and cold-toned natural landscapes. This visual
contrast reflects the tension between restraint and freedom of the AI character Ava. As
mentioned in the book “Postfeminist Whiteness”, “contemporary technological spaces
often show indifference and control, and individuals in these spaces try to seek
self-identity by manipulating others” (Marston, 115). In the film, the scene where Ava
and Caleb look at each other on both sides of the glass partition shows the
insurmountable gap between humans and AI through cold colors and minimalist
composition. This style is not only a symbol of science fiction, but also a profound
metaphor for individual isolation and technological control.

In the comparison of visual styles, all three films use classic elements of film noir,
such as low-key lighting and cold colors, but in the context of science fiction, these
elements are not only to create atmosphere, but also a philosophical exploration of the
individual dilemma in a technological society. Whether it is the future ruins in “Blade
Runner”, the cold city in “Blade Runner 2049”, or the technological chamber in “Ex
Machina”, these visual symbols convey the theme of identity loss and moral ambiguity
in a post-human society.

In the new technological noir films, identity and humanity are always the core
themes, which are deeply explored through the roles of replicants and artificial
intelligence. “Blade Runner” (1982) and its sequel “Blade Runner 2049” (2017) raise a
key question through the concept of replicants: What is the boundary between humans
and non-humans? In these two films, replicants not only have an appearance and
emotions that are almost the same as humans, but even show deeper emotional
experiences than humans. As stated in Tech-Noir: Film – A Theory of the Development
of Popular Genres, “Tech-Noir films question the nature of humanity and life through the
image of replicants, especially when replicants show emotions, fears, and anxiety about
death. Are they still machines or have they become human beings?” (Silver, 274). In
Blade Runner, Roy Batty’s “Tears in the Rain” monologue has become a classic. This
passage not only expresses his pain about the brevity of life, but also reveals the
replicant’s desire for self-existence.

In Blade Runner 2049, this identity anxiety is more complicated. The replicant K
(played by Ryan Gosling) in the film is programmed to obey humans, but he gradually
develops confusion about his self-identity during his investigation. He thinks he may be
the offspring of humans and replicants, but eventually finds that he is just one of many
replicants. This process of identity disillusionment reveals the film’s reflection on the
nature of human identity: if replicants have emotions and free will, then how are they
different from humans? As pointed out in Tech-Noir, “Tech-Noir challenges
anthropocentrism and reveals the falsehood of human identity and free will through the
perspective of replicants” (Silver, 276).

Compared with the uncertainty of replicant identity in the Blade Runner series, Ex
Machina (2014) further explores the moral boundary between artificial intelligence (AI)
and humans. In the film, Ava (played by Alicia Vikander) is an advanced artificial
intelligence created by Nathan (played by Oscar Isaac). She is not only able to
communicate fluently with Caleb (played by Domhnall Gleeson), but also able to display
complex emotions and motivations. However, as described in the book “Postfeminist
Whiteness”, Ava’s existence also embodies “the control and resistance of female
identity in modern technological society” (Marston, 120). Ava eventually gains freedom
by manipulating Caleb. This reversal reveals that she is not only an object of
manipulation, but also an individual who actively seeks self-liberation. Her escape
symbolizes the rebellion of artificial intelligence against human control, and also
demonstrates the “subversion of power relations between humans and non-humans” in
the technological neo-noir film (Marston, 121).

Through the image of replicants and artificial intelligence, the three films reveal
the issues of identity and humanity, and all involve the themes of moral ambiguity and
free will. In Blade Runner, Deckard (played by Harrison Ford), as a human who hunts
replicants, gradually develops sympathy for the replicants and develops feelings with
the replicant Rachel, which reflects the gradual disappearance of the boundary between
humans and replicants. In Blade Runner 2049, K’s identity crisis symbolizes the
replicants’ confusion about their identity with themselves and the human world, while in
Ex Machina, Ava not only shows self-awareness, but also achieves self-liberation
through manipulation and resistance.

The core of the theme of identity and humanity lies in the fact that these films not
only explore the biological boundary issues brought about by technology, but also reflect
on the fluidity and fragility of human identity in modern society. As pointed out in the
book “Tech-Noir”, “Tech-Noir reveals the socially constructed nature of human identity
through replicants and artificial intelligence, and challenges anthropocentrism through
moral dilemmas” (Silver, 279). This uncertainty of identity not only reflects the dilemma
of the characters in the film, but also reflects the confusion of humans about self and
others in modern society.

Moral ambiguity and ethical dilemmas are also core themes in Tech-Noir. These
films reveal ethical challenges in technological society by showing the complex
relationship between humans and non-humans. Blade Runner (1982) and Blade Runner
2049 (2017) are particularly prominent in this theme. In the film, replicants are not
simply machines, but beings with emotions and autonomous consciousness. However,
as pointed out in “Tech-Noir: Film – A Theory of the Development of Popular Genres”,
“Tech-Noir questions the legitimacy of human moral superiority by deliberately blurring
the moral boundaries between humans and non-humans” (Silver, 281). In Blade
Runner, Deckard was initially tasked with hunting replicants, but as he bonded with the
replicant Rachel, he gradually realized that these replicants also had life value. Roy
Batty’s “Tears in the Rain” monologue is not only a lament for the brevity of life, but also
a declaration of the dignity of life: “I’ve seen things that you humans can’t imagine.” This
classic monologue expresses the replicants’ desire for survival and recognition,
reflecting the film’s interrogation of human morality.

In Blade Runner 2049, this moral ambiguity is further deepened. K (played by
Ryan Gosling), as a replicant hunter, gradually doubts his identity and tries to find his
“humanity”. He was initially told that he was just a replicant, but during the investigation,
he thought he might be the offspring of humans and replicants. However, in the end he
found that he was just one of millions of replicants, and this identity disillusionment
revealed a moral dilemma: if replicants can love, fear, and desire freedom, then what is
the difference between them and humans? This is not only an identity issue, but also a
moral issue. As stated in Tech-Noir, “Tech-Noir reveals the fear of life and self in a
technological society through the ambiguity of identity and moral dilemmas” (Silver,
284).

In Ex Machina (2014), this moral ambiguity is presented in a more direct way.
The artificial intelligence Ava (played by Alicia Vikander) in the film can not only simulate
emotions, but also manipulate humans. She gains trust through communication with
Caleb, and eventually puts Caleb and her creator Nathan (played by Oscar Isaac) to
death. Ava’s escape is both a victory in her pursuit of freedom and a moral failure faced
by humans in creating intelligent life. As mentioned in the book “Postfeminist
Whiteness”, “Ava’s resistance reveals the inequality of gender and power in a
technological society. Women are regarded as objects to be controlled, and her escape
symbolizes resistance to this oppression” (Marston, 123). Ava is not only a manipulated
AI, but also a life form with self-awareness and strategies. Her escape and rebellion
reflect the film’s profound reflection on the ethical issues brought about by human
creation of life: If artificial intelligence has self-awareness, what right do humans have to
control or destroy them?

Through the choices and behaviors of the characters, these three films reveal the
core of moral ambiguity and ethical dilemmas in technological society. As a hunter,
Deckard gradually realizes that the replicants he hunts actually have the same meaning
of life as he does, while K experiences the disillusionment of identity and ultimately finds
his own value of existence in self-sacrifice. In contrast, Ava defeats her controller
through intelligence and strategy, symbolizing the resistance of technological life to
human control. As stated in “Tech-Noir”, “Tech-Noir reveals the complex and tense
relationship between humans and non-humans in technological society through moral
ambiguity and ethical dilemmas” (Silver, 285).

More importantly, the ethical dilemmas of these films are not limited to the plot
itself, but reflect the general concerns of modern society about the relationship between
technology and humanity. With the rapid development of artificial intelligence and
genetic engineering, humans not only face the problem of how to define “humanity”, but
also face the moral challenge of how to coexist with intelligent life. This fear and
uncertainty is exactly the core revealed by the new technology noir film.
Tech-noir films not only present the grim face of future society through visual
style and narrative structure, but also explore the existential dilemma of human beings
in the technological age from a philosophical perspective. The moral ambiguity and
identity crisis presented in these films actually reflect the collective anxiety of modern
society about technological progress and the nature of human nature. “Blade Runner”
(1982) and “Blade Runner 2049” (2017) raise a core question through the existence of
replicants: if a non-human life form can experience emotions, have memories and
desire to survive, should it also have the same rights as humans? As pointed out in
“Tech-Noir: Film – A Theory of the Development of Popular Genres”, “Tech-noir films are
not only an innovation in visual style, but also a philosophical expression that explores
the increasingly blurred boundaries between humans and technology and the ethical
dilemmas brought about by this boundary” (Silver, 288). In these two films, replicants
are not only a product of technology, but also a symbol of human nature and
self-identity.

In Blade Runner, Roy Batty’s (Rutger Hauer) “tears in the rain” monologue is not
only a classic scene in the movie, but also a philosophical reflection on the value of
human and non-human life. Roy laments that his memories and experiences will
disappear with his death, just as “tears in the rain” are silent. This fear of the brevity of
life and the disappearance of memory is not only the dilemma of replicants, but also the
existential anxiety faced by all life. As stated in Tech-Noir, “Tech-Noir reveals human
beings’ fear of death, oblivion and the disappearance of meaning through the image of
replicants” (Silver, 290). This philosophical dilemma is continued in Blade Runner 2049
through the character of K (Ryan Gosling). He not only faces his own identity crisis, but
also has to find himself between fake memories and real experiences. In the end, he
finds his own value through self-sacrifice. This exploration of self-sacrifice and human
dignity makes the film transcend ordinary science fiction adventures and become a
classic of philosophical reflection.

In contrast, Ex Machina (2014) explores the ethical challenges posed by
technology to humans more directly. Ava (played by Alicia Vikander) in the film is not
only an advanced artificial intelligence, but also an individual who is aware that she is
imprisoned and controlled. She eventually escapes her “cage” by manipulating Caleb
and Nathan, a reversal that reveals the nature of power and control in a technological
society. As described in the book “Postfeminist Whiteness”, Ava’s resistance symbolizes
“the controlled state of women in a technological society, and her escape represents a
resistance to this oppression” (Marston, 123). Philosophically, Ava’s existence questions
the morality of human creation of intelligent life: if artificial intelligence has
self-awareness and autonomous decision-making capabilities, then what right do
humans have to control them? Ava’s escape is not only her pursuit of freedom, but also
a warning to humans to control the power of science and technology.
The philosophical reflections of these films are not limited to the fate of the
characters, they are also warnings about the ethical challenges brought about by the
development of science and technology in contemporary society. With the rapid
development of artificial intelligence, genetic engineering and data surveillance
technology, humans are facing a series of unprecedented moral and social dilemmas.
As stated in “Tech-Noir”, “Tech-Noir explores the human dilemma in a technological
society through future scenes and non-human characters. This reflection is not only
philosophical but also social” (Silver, 292). The Blade Runner series questions the
human definition of life through the value of human life, while Ex Machina reveals the
nature of power and control in a technological society. These films reveal modern
society’s fear of technological progress through a fictional future world: technology is not
only a tool for human development, it may also become a monitor and controller of
humans.

In these films, visual style and narrative structure are not only a means of artistic
expression but also a carrier of philosophical and social reflection. Low-key lighting, cold
colors, and futuristic urban landscapes are not only aesthetic elements of black films but
also metaphors for loneliness and identity loss in modern society. The existence of
replicants and artificial intelligence further reveals human confusion about self and
others in the technological age. Through these visual and narrative elements, Tech-Noir
not only shows the cold face of the future world but also reveals modern society’s deep
concerns about technological control and the loss of humanity through the characters’
moral choices and identity struggles.

In this paper, I analyzed three classic techno-noir films: Blade Runner (1982),
Blade Runner 2049 (2017), and Ex Machina (2014). Through the analysis of visual
style, identity themes, and moral dilemmas, these films not only demonstrate the genre
fusion of techno-noir and film noir but also reflect the profound reflection of modern
society on technology, identity, and morality. They question the nature of human identity
and life through the characters of replicants and artificial intelligence; they show the
loneliness and moral ambiguity of modern society through low-key lighting and futuristic
urban landscapes; and through the choices and behaviors of the characters, they reveal
the ethical challenges faced by humans in a technological society.

These films are not just entertainment works, they are philosophical reflections
on the ethical dilemmas brought about by technological progress in modern society.
With the rapid development of artificial intelligence and big data surveillance, the
questions revealed by these films have become more urgent: How do humans define
life? How can we maintain our humanity in a society dominated by technology? Through
the analysis of these three films, we can see that techno-noir films are not only
innovations in visual and narrative styles but also profound reflections on the fate of
mankind and the future of technology.

Works cited
Doll, Susan, and Greg Faller. “Blade Runner and Genre: Film Noir and Science Fiction.”
Literature Film Quarterly, vol. 14, no. 2, 1986, pp. 89-100
Blade Runner and Genre: Film Noir and Science Fiction: EBSCOhost
Auger, Emily E. Tech-Noir Film: A Theory of the Development of Popular Genres.
Intellect, Limited, 2011. ProQuest Ebook Central， Santa Barbara City College, 2025
Marston, Kendra. Postfeminist Whiteness: Problematising Melancholic Burden in
Contemporary Hollywood. Edinburgh University Press, 2018. JSTOR, Santa Barbara
City College, 2025

About this entry

You’re currently reading “Shadows of Humanity: Exploring Identity and Ethics in Tech-Noir Cinema,” an entry on Student Film Reviews

Published:: 07.16.25 / 11am

Category:: Academic Papers, Films

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Film Review Club: Reviews of current film releases, streaming films, and revivals by student members of the SBCC Film Review Club.

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Serena 07.19.25 / 8am

In your second paragraph describing Blade Runner (1982) and it’s sequel Blade Runner 2049 (2017), it seems to me that Act one out of the “3 act structure” is used when introducing the audience to high-tech set designs with a depressing atmosphere to set the tone for Act 2 and 3. In your 3rd paragraph, discussing the contrast to Blade Runner, Ex Machina (2014) is mentioned. The world building of that film is done by the set with the character design, and a focus on nature and technology coming together. Although the themes in both of your chosen films seem similar. The primary narrator in both films focus on the protagonist as they find their way through high-tech worlds. Both protagonists are well-rounded characters because of the depth and arch shown throughout both films.

Chloe Hong 07.19.25 / 10am

I thought your analysis of Tech-Noir films was really thoughtful and well-organized. I liked how you explained the visual differences between Blade Runner and Ex Machina, and how those styles reflect deeper ideas like loneliness, identity, and control. Your points about the characters like K questioning who he is, or Ava breaking free, really helped show how these films explore what it means to be human in a world full of technology. I also thought you did a good job connecting the films to real-life concerns about AI and the future. Overall, I think your analysis made me think more deeply about these movies and the messages they’re trying to send.

Yanxi Jiang 07.19.25 / 10am

This paper on tech noir films is very comprehensive and detailed in its analysis, especially the explanation of the film “The Killer”, which includes visual sensory experiences and discussions on the theme of the film. The author points out that these films present through their visual language the changes, advantages and challenges that technology has brought to people’s lives.
Blade Runner uses the contrast between replicas and humans in the urban landscape illuminated by illuminance and shrouded in rain, and explores what true humans are. It presents a lot of very avant-garde content. After watching many scenes in this film, a terrifying and eerie atmosphere is well created in the enclosed indoor space.
I really like this article. I think the content it presents is very novel, but at the same time, I also believe it can be further developed.

Dylan Anderson 07.19.25 / 3pm

I really liked this review on Ex Machina and Blade Runner. You put a lot of thought into how lighting, color and setting were used in the films to convey themes of isolation and identity conflict. Film elements like mise-en-scène and film form help tell the story beyond dialogue and the comparisons you made to the rainy city in Blade Runner 2049 and the glass between Ava and Caleb helped clarify that for me. Additionally, the way the characters struggle with identity fits into how narratives provide insight into the human experience and these narratives explore that in an interesting sci-fi way. This idea is prevalent in the “Tears in the Rain” scene, in particular, which critically portrays replicants wanting to be perceived as more than machines. Thanks for the interesting paper!

Brianna Garcia 07.19.25 / 4pm

This paper offers a powerful analysis of Tech-Noir cinema, clearly showing how Blade Runner, Blade Runner 2049, and Ex Machina use science fiction and film noir elements to explore complex ideas like identity, humanity, and morality. I really appreciated you connected visual style to deeper themes like how the cold lighting and futuristic sets aren’t just for looks, but also reflect isolation, confusion, and ethical tension. The comparisons between replicants and Ava help show how these films challenge our understanding of what it means to be human. The paper does a great job using sources to support each idea and offers a clear message, that these films are not just entertainment, but reflections of modern fears about technology and control.

Andrew Cloughley 07.19.25 / 5pm

I really liked your analysis of tech noir themes. I enjoyed your early focus on setting, especially in Blade Runner. The theme of dim lighting, dreary weather, and rain was very intentional and integral to the story. I also thought that your comments on how there is so much ambiguity between human and replicant, especially if they can create and feel their own emotions and memories. Finally, your conclusions that the tech noir theme challenges moral ideas and goes against normal Hollywood structures were very impressive.

sera quinteros 07.19.25 / 6pm

Great analysis on Tech-Noir, very well structured and having not seen these movies in a long time, you illustrated the plot very well while highlighting all the major themes. Tech-Noir truly is such an interesting genre because of its moral ambiguity. In today’s society the conversation around artificial intelligence is already so divisive and we are just in the early stages. You already have people opposing AI out of fear that we’ll end up in situations like the ones these movies present, but also for other reasons too like environmental. I’d be curious to see how you would analyze another Tech-Noir film like The Matrix.

Seth Greenland 07.19.25 / 9pm

I really like how you explained Blade Runner’s use of visuals to build that cold and rainy but colorful futuristic world. The constant rain, neon lights, and shadowy streets make the city feel alive but also super isolating at all times. I really do think that the subplot in this story or “satellite” of Baff’s origami unicorn and the quest for Deckard’s humanity was crucial to the story and couldn’t be taken out even if it wasn’t directly in the three act sequence. I think that Roy’s dying scene always hits me hard because it says that the memories and emotions we carry are what make us human in a way. Such an amazing film and great review.

Liv Kelley 07.21.25 / 12am

This is a very well written article. I really liked your comparison between the two Blade Runner movies. I also really liked how you talked about the three act structure. Very interesting to read about!

Dashiell Bastedo 07.23.25 / 10pm

Comment 1. I really enjoyed how the review focused on the visuals in both Blade Runner, and Ex Machina. How it talked about the lowkey lighting, neon glow, and shadowed environments. It helped the film create mood and futuristic feel. Blade Runner made use of dark and rainy streets that made it feel eerie, while Ex Machina used a very minimalistic approach. This review really underlined how lighting and color really add to a film and how they can play a huge role in building different emotions. One thing that others might look over, but deep down in the film, without it, you wouldn’t be able to gauge the tone or mood.

Emanuel Leon Tafoya 07.26.25 / 10am

This articles analysis of Tech-Noir themes like identity and moral ambugitity strongly connects to the Matrix, a film I watched that also questions the nature of reality and what it really means to be human. Like the replicants in Blade Runner, Neo begins the film unaware of his true identity and must confront the unsettling truth that his world is an illusion. Both films use cold, dark visual styles- rain, shadows, and artificial lighting, to reinforce the feeling of alienation in a high tech society. The articles discussion of Ava’s manipulation in Ex Machina also parallels to Neo is used as a tool by others until he gains self awareness and agency. Overall, the article deepens my understanding of how The Matrix fits into a broader Tech Noir genre by blending style, philosophy, and ethical dilemmas about control and freedom.

Lane Imen 07.26.25 / 11am

I really liked how you stated that this new alternative genre fuses film style and atmosphere. I find this new style of tech-noir and its pushing of boundaries to be extremely interesting. The way you described the themes of these movies, as questioning the boundaries of identity and humanity, was amazing. I find that the primary goal of films like these is to provide social commentary, while doing so, they simultaneously create art through the use of lighting and settings, as you mentioned.

Rojina refai 07.26.25 / 12pm

Your analysis is excellent at highlighting how Tech-Noir is grounded in traditional film noir tropes such as low-key lighting and moral complexity. My favorite was your reference to mise-en-scène in Ex Machina—the minimalist, antiseptic environment definitely contributes to Ava’s feelings of loneliness and underscores the asymmetry of power. The use of rain, shadows, and muted color palettes in the Blade Runner films was also impressive as pure noir visual design, reimagined in a sci-fi context. How interesting that those things are not just for atmosphere—they support each character’s identity crisis and the greater questioning of humanity and control.

I really like your highlighting of how Tech-Noir is grounded in traditional film noir tropes such as low-key lighting and moral complexity. My favorite was your reference to mise-en-scène in Ex Machina—the minimalist, antiseptic environment definitely contributes to Ava’s feelings of loneliness and underscores the asymmetry of power. The use of rain, shadows, and muted color palettes in the Blade Runner films was also impressive as pure noir visual design, reimagined in a sci-fi context. How interesting that those things are not just for atmosphere—they support each character’s identity crisis and the greater questioning of humanity and control.

Oliver Brewis 07.26.25 / 6pm

I thought your analysis of Tech-Noir films was really insightful and easy to follow. I especially liked the way you compared the visuals in Blade Runner and Ex Machina, and how those styles reflect bigger ideas like loneliness, identity, and control. Your points about characters—like K questioning who he is, or Ava breaking free—really helped show how these films explore what it means to be human in a world shaped by technology. I also thought you made a great connection to real-world concerns about AI and the future. Overall, your analysis made me think more deeply about these movies and what they’re really saying.

Madison Acosta 07.26.25 / 8pm

The review provides an extensive and contemplative examination of Blade Runner, Blade Runner 2049, and Ex Machina. The writer effectively analyzed identity and emotion and moral questions regarding artificial life creation in this review. The analysis of film visual styles between these movies revealed interesting differences that mirrored each character’s personal battles. The analysis of Ava from Ex Machina stood out to me because her escape from creators through intelligence demonstrated the advanced human-like capabilities of artificial intelligence. The review incorporated powerful external quotes which effectively supported its main arguments. The review made me realize that these movies transcend science fiction to become reflections about human responses to technology and power and the definition of true life.

Keon Young 07.27.25 / 8pm

This assessment views Force of Evil in light of the elements of visual expressionism and the theme of alienation. The alignment between the German expressionist style, lighting chiaroscuro, spatial and locational distortion, and stylized mise-en-scène, and the genre conventions of 1940s Hollywood film noir meshes especially well. I particularly enjoy the reference to Kirchner’s disfigured people, contributing to the film’s placement within a more extensive international struggle rendering form a reflection of internal struggles of people and external struggles of society. It’s also effective the way you connect Joe’s figurative descent into the underworld with his literal moral descent, as per the genre conventional guidance that notes crime and criminals don’t pay, at least not without debt. In general, this response interacts with the film and its themes via style, aware of how those styles generate awareness of conflict and moral truths.

Benett Weitzman 07.31.25 / 11pm

Hey, I really liked your essay on Tech-Noir films! You did a great job showing how Blade Runner and Ex Machina use their visuals and stories to explore big questions about identity and technology. I think the way you talked about replicants and AI blurring the lines between human and machine is super relevant right now. The part about Ex Machina’s cold, minimalist style really made me think about how space and color can say so much without words. Tech-Noir really makes us question what it means to be human in a world full of technology.

William Geyer 09.18.25 / 1pm

Your ruminative analysis of the Tech-Noir genre really highlights the need to reappraise the moral and philosophical questions that are important to humanity with the rise of technology in general, and artificial intelligence in particular. These questions of humanity’s place in the tree of life, what it means to be human, and the relationship between humans and our surroundings certainly should be looked at now that there is another, increasingly intelligent (sentient?) thing in our world. I also greatly appreciated the way that you demonstrated how the set, lighting, and general visuals of both Blade Runner films interact with the subtext and themes of isolation, moral disintegration, and confrontation with conscious technology.

Cameron Rosario 09.22.25 / 11am

This is a rich and well-articulated exploration of the Tech-Noir genre. You skillfully analyzed how Blade Runner, Blade Runner 2049, and Ex Machina use visual style and narrative engage philosophical questions. The connection between lighting, futuristic landscapes, and themes of isolation and moral ambiguity is very compelling. I appreciate how your review doesn’t just focus on aesthetics, but ties these elements to broader questions of identity, power, and ethical responsibility in the age of artificial intelligence. The comparison between the cold urban dystopia of the Blade Runner films and the minimalist naturalism in Ex Machina is especially insightful. Overall, this work successfully demonstrates that Tech-Noir is not merely a stylistic fusion, but a genre that functions as a mirror to contemporary fears about technology, control, and the fragility of what we call “human.”

Yiran Wang 09.27.25 / 1pm

I think it’s cool how you showed that the style in TechNoir movies isn’t just for looks but also helps explain deeper ideas. I really liked your example comparing the rainy city in Blade Runner 2049 with the clean hightech setting in Ex Machina. It shows how different visuals change the way we think about identity and control in each film. I also thought your point about Ava escaping in Ex Machina was really strong. You linked it not only to AI breaking free but also to power gender and resistance. That made me realize TechNoir isn’t only about technology. It also reflects human sociiety and its unfairness.

Arturo Rincon 10.06.25 / 3pm

The paragraph identifies a gap between humans and artificial intelligence, attributing this divide in part to predominantly negative public perceptions of AI. The author further examines the boundaries between humans and AI, grounding these observations primarily in cinematic portrayals. The research you gathered from different movies helps you in some ways with your page . The analysis is drawn from a page titled Shadows of Humanity: Exploring Identity and Ethics in Tech-Noir Cinema.

Arturo rincon 10.06.25 / 5pm

The pharagraph identifies a gap between humen and artificial intelligence, attributing this divide in part to predominantly negative public perceptions of AI. The author further examines the boundaries between humans and AI, grounding these observations primarily in cinematic protrayals. the research you gathered from different movies helps you in some ways with your page. The analysis is drawn from a page tited Shadows of Humanity: Exploring indentity and Ethics in Tech-Noir Cinema.

Viviana Ruiz 10.08.25 / 1pm

I really enjoyed your analysis of tech-noir, especially because I feel like those films can be underrated. I think it was a good idea to bring up AI and ethical issues because in this specific genre people could easily insert AI into a film like Ava was. The film Ex Machina does follow that three-act structure. I feel like the mise-en-scène with modern architecture and harsh lighting definitely makes the viewer engaged like “oooo look at that” or “what’s happening”. You can tell there was a lot of research in this review, which makes it well done and descriptive.

Viviana Ruiz 10.09.25 / 3pm

I thought this analysis was really thought out and had really in-depth research. Tech-noir films I feel are underrated, but I’m glad you covered the ethics part of it. Since in Ex Machina, Ava is technicially considered an AI character which can be easily manipulated in tech-noir films. Especially in this genre, but at least the film covered it. Ex Machina’s mise-en-scène makes it more eye drawing whether it’s the setting that goes from landscape to more modern arcetecture to the three act structure it also has.

I thought this analysis was really thought out and had really in-depth research. Tech-noir films I feel are underrated, but I’m glad you covered the ethics part of it. In Ex Machina, Ava is technically considered an AI character which can be easily manipulated in tech-noir films. Especially in this genre, but at least the film covered it. Ex Machina’s mise-en-scène makes it more eye-drawing, whether it’s the setting that goes from landscape to more modern architecture to the three-act structure it also has.

Evan Brehm 10.09.25 / 6pm

I love you that you analyzed these films as this is such an underrated genre, and there is always a lot to unpack that is becoming more and more relatable by each day. I have not seen any Blade Runner film which I know is a problem and needs to change, I’m planning on watching them very soon (especially after reading your analysis). Although, I have just recently watched the film Ex Machina which is a brilliantly unsettling film. I love the films ability to present this moral and evolutionary issue with three distinct, opposing symbolic characters. I specifically I love how you talked in detail about lighting effects and differing color tones within the film, showing how these impacts convey the looming themes such as loneliness and distance within the Tech-Noir genre. Very well done!

Anvith Bheemisetty 10.11.25 / 8pm

Your analysis of tech-noire movies and their effects on identity and ethics is really great! I agree that the movie Ex Machina is highly tied to ideas of ethicality and freedom of the character Ava, the AI robot. She manipulates Caleb, a lonely man, with promises of romance, which Caleb perversely chooses as he desires Ava. As you noticed as well, Ava’s manipulation and betrayal of Caleb and her creator Nathan is a fight back against oppression as a woman and as a robot. I also really love how you mention particular usage of lighting and scene adaptations in Blade Runner 2049. The scene settings play a big factor in understanding the effects robotization has played on society as a whole. Overall, this is a great review of tech-noire films, great job!

Gabriel Chavez 10.11.25 / 11pm

stimulating tech-noir movie situated in a dystopian future where technology has merged the distinctions between human and machine. The movie tracks a tormented investigator, burdened by his history, as he maneuvers through a metropolis where recollections can be purchased, traded, and altered. He gets caught up in a situation that compels him to face inquiries regarding identity, reality, and the fundamental nature of humanity.

The film is visually captivating, merging the raw ambiance of traditional film noir with futuristic components, crafting a world that is both intriguing and disconcerting. The story delves into the moral consequences of cutting-edge technology, highlighting worries over privacy, independence, and the possibility of misuse. As the investigator investigates further into the case, he discovers a conspiracy that endangers the structure of society, compelling him to make tough decisions that will shape the destiny of mankind.

Shadows of Humanity transcends a typical science fiction thriller it serves as a deep reflection on the human experience in a time of swift technological progress. It urges viewers to reflect on the implications of our dependence on technology and the significance of upholding our values in a continually evolving world. The movie stays in the memory well after the credits finish, encouraging contemplation on the type of future we wish to build and the impact technology will have on determining our fate

Cooper Wall 10.12.25 / 5pm

I really liked how you explained the difference in effects and the color of the shot. You went very in-depth on all of the movies, which really helped me understand the movies more and get me to watch them. Especially, Ex Machina, because this book sounds like the acting is extremely smart, and that’s the only way they figure out the technology and science. I am very much into technology, so this movie would be a great watch. I also realize that this article emphasizes the big difference between humans and Artificial intelligence (AI). This shows that AI can manipulate humans, and if they can do that, then there is no question where they stand apart.

Austin Boller 10.13.25 / 1pm

I enjoyed how you were able to describe the differences in certain colors and effects in the shot. You had an equal amount of depth for each of the films. They make me want to ask questions like what it means to be human and the relationship between humans and our surroundings certainly should be looked at now that there is another. Overall great film review I really enjoyed reading it!

Benjamin Martin 10.13.25 / 1pm

I found this to be an entertaining and thought provoking analysis of three films that serve as excellent examples of the Tech-Noir genre. Going with what I know of how the Noir genre works to emphasize faults, or potential dangers within society, I really enjoyed seeing your thoughts on how the additional layer of technology can alter/amplify this affect for a modern audience. The divide between Artificial Intelligence, which humans are presently obsessed with, and humanity itself are highlighted brilliantly through your analysis. I found your points on moral ambiguity to be quite strong as well, and how something as morally ambiguous, and potentially dangerous as artificial intelligence almost craves to be presented in the Noir genres form. Thank you for a very fascinating read.

Isaiah juarez 10.14.25 / 8am

I want to focus on the two Blade Runner films you’ve analyzed. We have just recently gone over style and how characters help create the mood to establish a consistent theme, however i feel these two movies couldn’t be more different. The original Blade Runner is slow paced, just like its sequel, yet it’s boring. The mood is set into this dark, rainy landscape where we meet a flat protagonist and mediocre antagonist. I believe film is more than just an attempt at lighting and world building. It needs to be entertaining, engaging, it’s a story after all. Blade Runner 2049 creates a character that we as the audience can actually engage with. Is he a human hybrid? Is he special? This is the question so many ask ourselves, we believe we are the main character because we are special. We then find out he is not, he is one of the many. This becomes an existential theme that we as the audience live daily, and it is also the same theme the first movie ends with, Blade runner 2049 is what Blade Runner needed to be.

Adeleigh Mulville 10.14.25 / 11am

Your points about Blade Runner and Ex Machina do a great job of showing how lighting, design, and tone represent how people feel alone and don’t feel secure in a tech-driven society. I particularly liked how you linked the replicants’ moral confusion to people’s worries about AI. This problem with AI is extremely serious, as it has become more and more popular and accessible in the last few years. Your review also shows how genres evolve to deal with problems and concerns in society. It helped me see how mixing genres like sci-fi and noir can make stories more emotionally complex, highlighting how development in technology often makes people less certain of their own abilities. As someone who currently works in the film industry, it’s definitely something I’m worried about.

Richard Xu 10.17.25 / 1pm

I enjoyed how your review emphasized K’s emotional depth and the film’s haunting visual world. The rain-soaked dystopia and muted palette recall the noir style we discussed in class, symbolizing isolation and identity crisis. Your mention of Villeneuve’s direction highlights how Blade Runner 2049 deepens Scott’s original theme of what it means to be human in a world of artificial life. This connection between genre style and philosophy is exactly what makes Tech-Noir so powerful. Your review insightfully describes Ava’s intelligence and manipulation of Caleb. I like how you interpreted the glass walls and cold lighting as visual metaphors for control and confinement. In our class we learned how Tech-Noir exposes ethical conflicts between power and creation, and Ex Machina perfectly illustrates this. Ava’s final escape, both terrifying and liberating, captures the film’s central tension between technology and morality.

Jacob Elbert 10.17.25 / 9pm

This review is an informed and detailed exercise in philosophical questioning and aesthetic appreciation of the Tech-Noir genre. I appreciate your linking of Blade Runner, Blade Runner 2049 and Ex Machina from the start through concepts of identity, free will and moral ambiguity. The fact that you leap from the same lighting and mise-en-scène in an effort to convey alienation in a tech-dominated world shows the power of aesthetic and alienation and separations, as faces are often shadowed, and more. Your linking of manipulation and emotional appeal attacks maker/creation rights, which echoes our classroom analysis of ethics and what it means to be human. I also appreciate your acknowledgment of these films being cautionary tales in today’s attempt at real world technological domination. Therefore, great job connecting genre with a philosophical reaction!

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Shadows of Humanity: Exploring Identity and Ethics in Tech-Noir Cinema

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Shadows of Humanity: Exploring Identity and Ethics in Tech-Noir Cinema

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