Abjection in Stanley Kubrick’s & Ridley Scott’s films : tracing the roots of horror by Tan, Han Sheng

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‘How Can It Not Know What It Is?’: Self and Other in Ridley Scott's Blade Runner by Andrew Norris

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Representações cinematográficas do êxodo: de Cecil B. DeMille a Ridley Scott by Nuno Simões Rodrigues

“…DeMille (1923 e 1956) a Ridley Scott (2014). …”
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Le Dernier Duel de Ridley Scott : corps médiévaux à l’épreuve du genre by Caroline Masoch

“…This article analyses Ridley Scott’s film The Last Duel, released in 2021, from the perspective of the gendered body. …”
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Aproximaciones a un análisis sonoro del discurso cinematográfico: “Blade Runner” de “Ridley Scott” by Pablo Iglesias Simón

“…Por esta razón, el motivo principal del presente artículo es acometer el análisis fundamentalmente sonoro de una película tan emblemática como Blade Runner (1982) de Ridley Scott, para intentar vislumbrar algunos de los aspectos que pueden ser apreciados con referencia a este extremo.…”
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Incorporating Robots into Human Law - An Analysis of Robot Prototyping in Ridley Scott’s Blade Runner and Alex Proyas’ I, Robot. by Katarzyna Ginszt

“…The analysis of Blade Runner (1982) by Ridley Scott and I, Robot (2004) by Alex Proyas juxtaposes features that, according to the legal tradition, are most often attributed to moral subjects of legal protection with human-like features of robots. …”
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A análise do nível superficial da narrativa do filme "BLADE RUNNER: O CAÇADOR DE ANDRÓIDES de Ridley Scott" by Anna Maria Balogh

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A Babel do futuro: por uma tradução da architecture parlante de Metropolis e Blade Runner by Alfredo Suppia

Subjects: “…Blade Runner. Fritz Lang. Ridley Scott. architecture parlante.…”
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2001, l’Odyssée de l’espace de Kubrick et la possibilité d’un cinéma de science-fiction by Carl Freedman

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<b>Robin Hood de Ridley Scott: Possibilidades de diálogo entre escola, cinema e história</b> - doi: 10.4025/imagenseduc.v1i2.13301 by Raquel dos Santos Funari, Tatyana Murer Cavalcante

“…Por fim, nos voltaremos para o filme Robin Hood de Ridley Scott (2010) e teceremos sugestões de diálogo em torno do tema político da “liberdade”. …”
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Medhi Charef, Emir Kusturika, Spike Lee, Katia Lund, Jordan y Ridley Scott, Stefano Veneruso, y John Woo. Todos los niños invisibles (All the invisible children) by María Eugenia Vicente, Adriana D'Assaro

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De la guerra de los mundos a la guerra de los tiempos: tecno-bio-poder y aceleración social en el film Blade Runner de Ridley Scott by Josetxo Beriain

“…This study analyzes the meaning and functions of social acceleration and the intensification of the thresholds of human existence as a consequence of the application of techno-bio-power to human life through genetic engineering, taking the science fiction film, Blade Runner, by Ridley Scott as a case study. The authors from whom I draw support for constructing the conceptual framework of this study are Reinhart Koselleck — his extraordinary socio-historical studies of acceleration—, Herman Lübbe and David Harvey — their analyses of the phenomenon of the compression of time— and Harmut Rosa —with his theory about the driving forces of modern acceleration. …”
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HUMAN AND TECHNOLOGIES: WHO IS A PARASITE? RESEARCH EXPERIENCE OF FOREIGN TV SERIES AND MOVIES / ЧЕЛОВЕК И ТЕХНОЛОГИИ: КТО КОМУ ПАРАЗИТ? ОПЫТ ИССЛЕДОВАНИЯ ЗАРУБЕЖНЫХ СЕРИАЛОВ И КИН... by GUROV OLEG N. / ГУРОВ О.Н.

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Blade Runner : entre o passado e o futuro Blade Runner : betwen past and future by Paulo Menezes

“…A versão remontada por Ridley Scott, em 1993, remete a dimensões que a versão que vimos inicialmente nos cinemas dissolvia. …”
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The Cognitive Value of Blade Runner by Rafe McGregor

“… The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema.  …”
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A fotografia no cinema noir: uma relação entre-imagens by Marcia Ortegosa

“…Este artigo é uma tentativa de discutir alguns elementos estéticos da relação entre a fotografia e o cinema noir, em três filmes do gênero: A dama de Shangai (1948, Orson Welles), Blade Runner, o caçador de androides (1982, Ridley Scott) e A testemunha ocular (1992, Howard Franklin).…”
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The Cognitive Value of Blade Runner by Rafe McGregor

“…The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema.  …”
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Borders, Barriers and Grievable Lives by Pötzsch Holger

“…Based on a close reading of Ridley Scott’s war film Black Hawk Down (USA 2001; BHD), the present article investigates the formal properties through which a certain strain of war and action movies discursively constitutes the other – the enemy – as less than human. …”
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Thelma & Louise: Rape culture, mudflaps and vaginal horizons by Dayna McLeod

“… This video essay isolates the rage of the protagonists of Ridley Scott’s 1991 film Thelma and Louise, against personal and systemic patriarchal violence. …”
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The literary discourse of Blade Rnner: film as a literary collage by Décio Torres Cruz

“…Cenas de Blade Runner, de Ridley Scott, serão usadas para ilustrar os argumentos desenvolvidos neste ensaio, ou seja, de que modo o filme traduz a tradição literária de Dante, Blake e Milton, assim como trechos bíblicos.…”
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