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So where Baudrillard’s “negativized Gothic” proceeds by way of identifying an increasing perfection in the techniques of artifical reproduction (leading, in his view, to a triumph of a post-sexual necrotic culture), Deleuze-Guattari follow the Gothic line in identifying modes of replication that cut across organic reproduction altogether. Instead of identifying, as Baudrillard does, the escape from (sexual) reproduction with an increase in sameness, Deleuze-Guattari argue that sex group “anorganic propagation” is a feature of multiplicity. Blade Runner, once again, provides an exemplary case-study for the crosshatching of these two approaches, as Iain Hamilton sex group Grant establishes in his sex group commentary on its opening scene: When replicant Leon responds to bladerunner Holden’s question ‘let me tell you about my mother ... [shots propel Holden through the plate glass window into the street many floors below]’, the bullets may not offer stories of his mother, but the unmistakable technological phenotype of their impact etches Leon’s military-industrial genealogy in scar tissue over Holden’s damaged body.
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