Blade Runner, directed by Ridley Scott and based on the novel by Philip K. Dick Do Androids Dream of Electric Sheep, is a noir science fiction film about a policeman name Rick Deckard (played by Harrison Ford) in 2019 Los Angeles who has been tasked with retiring four genetically modified replicants. The four fugitives, Pris (played by Daryl Hannah), Zhora (played by Joanna Cassidy), Leon (played by Brion James), were led by Roy Batty (played by Rutger Hauer) and escaped from an off-world colony for find their creator and force him to expand their predetermined four-year lifespan. Part of the success enjoyed by this feature film can be attributed to the film's ability to operate on many different levels. In this essay I will discuss how the generic indicator "The visual surface of science fiction presents us with a comparison between those images to which we respond as "alien" and those we know to be familiar can be applied to Blade Runner and to what purpose. After l he release of Blade Runner in 1982, film critics gave great comments to the beautiful visual images of the city. Director Ridley Scott created the future vision of Los Angeles starting from a couple of buildings left in their original position from that point departure, built a massive, small set in Los Angeles in 2019. Los Angeles presents itself in the opening sequence as a sprawling industrial landscape with stacks of chemical plants, refineries shooting flames halfway into the sky, and enormous megastructures dominating downtown of the city Hidden behind the city's megastructures, a technological world lights up the city through glittering neon and huge advertising screens and, upon closer inspection, there is an overwhelming... middle of paper... political repression could bring. the future. While most dystopias express fears of technology and depersonalization, Blade Runner attempts to describe the mediation point between technology and human values. Deckard says, "Replicants are like any other machine. They can be a boon or a danger." In conclusion, it must be said that the generic indicator 'The visual surface of science fiction presents us with a comparison between those images to which we respond as "alien" and those we know to be familiar' can be applied to Blade Runner when judging the film by an aesthetic point of view as well as an ideological point of view is built starting from images that today's society considers foreign (such as images of the city, interiors and social interactions) and also from more familiar images