Opening scene has the world and fire reflected in an eye.  Whose eye is it?  Roy or Deckard? The viewer looking at the city? 
(see Roy's talk with the Eyemaker where Roy refers to the fall of the fiery angels. below.)

Leon is given the "void-com." test.  Void com. is short for Void of compassion.  The test measures the replicant's pupil dilation during emotionally charged questions. 
Before killing Holden Roy says, "My mother. Let me tell you about my mother."

The City:
Note that it is fashioned after the city in the 1920s film Metropolis.  In Metropolis, the mass of workers labor underground to build and keep the city running for the aristocrats who live above ground. The film works on master-slave relations at multiple levels including the "little people" vs. the cops and those in charge, replicants vs. humans, the earth vs. the colonies.  In many cases the above/below metaphor from Metropolis is maintained.
Tyrell Corp.: Note the building looks like a pyramid.  Again, this echos the master slave relations.  Also, the size of the buildings towers beyond human scale--a person is dwarfed by the building's size.  Again, humans are slaves to corporate power.

Problem with Replicants: as Bryant explains to Deckard, after four years the replicants develop their won emotions and emotional responses to situations.  With emotions, he implies, they are less obedient and more "free" or at least not predictable.  So, the Tyrell corp. builds in a fail safe device--a four year life span.
Also to note Bryant calls replicants "skin jobs."

At the Tyrell Corp.
Owl with large eyes mirrors Tyrell with large glasses.  (This will become very evident in Tyrell's death sequence which cuts to the owl then to Tyrell.)

Deckard performs the void comp. test on Rachel and finds she is a replicant--after over a hundred questions.  "More human than human" is our motto at Tyrell corp. says Mr. T.
Tyrell goes on to explain that he has given the Nexus 6 replicants implant memories.  He has "given them a past" to cushion their emotional growth and to "better control" them.

Roy and Leon Visit Hannibal Chew, Eyemaker.  It is through the maker of their eyes that they get info. on how to find Tyrell (via Sebastian). 
Roy says to the eye manufacturer "Fiery the angels fell. Deep thunder rolled about their shores... burning with the fires of Orc" Roy's line is an alteration of America, a poem about political and metaphysical rebellion written by William Blake.  The original lines are

Fiery the Angels rose, & as they rose deep thunder roll'd 
Around their shores: indignant burning with the fires of Orc 
And Bostons Angel cried aloud as they flew thro' the dark night. 
(Am 11.13-15)

Roy tells Chew "If only you could see what I've seen with your eyes."  We begin to see the relationship between sight and claim to selfhood.

Rachel at Deckard's: Rachel wants to discuss the possibility of being a replicant since Tyrell refuses to see her.  She shows Deckard a photo and says, "Look it's me with my mother." Deckard explains the memory implants from Tyrell's niece. Photo-sight-memory-subjectivity all work into Rachel's claim to being human and having a "person" or self.  This self includes a privileged interior--memories that no one else has access to.

Pris at Sebastian's: Sebastian does genetic design for the Tyrell corp.  When Pris asks him if he gets lonely in the building by himself, he replies, "I make friends.  My friends are toys; I make them."  He says this line twice.  We then enter his carnivalesque apartments.

Deckard playing piano: Deckard plucks at the piano keys and looks at photos (presumably family photos) he has on the piano.  This is just after Rachel has left having found out she is a replicant and her photo is fake.  Deckard slips into a dream of a unicorn in bright natural world very unlike his metropolis.  When he wakes up, he takes Leon's photos from amid his own and does a computer analysis of the image.  He finds Zhora reflected in a mirror which leads him on the trail to a snake.

At Taffey Lewis's: In this "Chinatown" bar (a reference to the film noir movie of that name), Deckard "exposes" Zhora as a replicant.  Notice that posed as an inspector, while she showers he is supposedly looking for "peep holes" while he is in fact peeping to find more evidence.
Zhora's death: how are we to react.  Is this "retirement" or killing?  the film noir jazz saxophone and slow motion set the dark, sad tone.  How are we to react to the death of a non-human?

Leon confronts Deckard: Having seen Zhora's death, Leon now corners Deckard.  He asks D. "How long do I have to live?"  Then as he moves to kill Deckard, Roy says, "Powerful to live in fear isn't it.  Nothing is worse than having an itch you can't scratch."  The allusion to death raises the problem that only humans are conscious of their own death.  What happens when another species has this same self awareness.  Notice this fear is part of the privileged interior life of a "self."  Through such emotions, the replicants build their claim for selfhood.
Rachel shoots Leon, killing him just before Leon pokes out Deckard's eyes.  (This foreshadows Tyrell's death.)

Rachel at Deckard's: Shaken by just having killed one of her own kind, Rachel explains to Deckard, "I'm not in the business.  I am the business." (slave/sub-human/commodity discourse once again)
She then asks D., "You know that void-comp. test of yours?  Did you ever take that test yourself?" (Is she implying that Deckard is also a replicant?)  Then note the sequence of actions that follows: 
Rachel looks at D.'s pictures of family on the piano then she plays the piano--mirroring Deckard's use of the piano earlier.  And just as earlier he dreamt of a unicorn, now he claims to dream music which is in fact Rachel's music.  (Is she or maybe he the unicorn?)
Rachel and Deckard kiss then make love.
 The love scene is an exercise of free expression.  Regarding the piano, Rachel claims, "I didn't know if I could play.  I remember lessons.  I don't know if its me or Tyrell's niece."  Deckard responds by saying, "You play beautifully."  Here is the recognition of her privileged interiority and freedom of expression. After the piano sequence, Rachel learns to play/express her own self in claiming a personal love--not a programmed memory of how to love.  Just before kissing she says, "I can't rely on ..." Meaning her love must be her own, not another's, not Tyrell's niece's.  Deckard "coaches" her through her exploration of emotion by having her repeat after him "Kiss me." and "I want you." Till she can finally claim on her own, awkwardly but with personal authenticity "Put your hands on me."

Pris & Roy at Sebastian's: Pris spray paints her eyes, making her more toy-like.  Pris asks Sebastian, "How old are you?" Again the death question as S. has a disease causing "accelerated decrepitude." 
Enter Roy who expresses a variety of emotions in a brief few seconds from feigning his intentions with Sebastian, to kissing Pris, to feeling sad over the deaths of Zhora and Leon.  Note that there are only two kisses in the movie--Deckard with Rachel and Roy with Pris.  What are the implied parallels here?
Sebastian reveals that he knows Pris and Roy are replicants.  Modeled after the demands he makes from his "friends" that are his toys, Sebastian asks Roy and Pris "Show me something." 
Roy replies, "We're not computers, Sebastian.  We're physical." 
Pris, "I think, Sebastian. Therefore I am."
Roy, "Very good, Pris. Now show him why."
Pris does a cartwheel then grabs an egg out of a boiler and tosses it to Sebastian who drops it because it is too hot for him to hold.
The replicants explain that their problem and need to see Tyrell.  When by coercion Sebastian agrees, Roy puts toy eyes over his own and says, "We're so hapy you found us." To which Sebastian laughs.

Roy meets Tyrell: Note the cut from owl eyes to Sebastian talking with Tyrell.  Tyrell greets Roy asking why he didn't come earlier.  Roy explains in a double meaning, "Its not an easy thing to meet your maker."  In reply to Tyrell asking what troubles the replicant, Roy responds, "Death--I want more life, fucker."  The exchange between Roy becomes the child and rebel before his maker (recalling Satan and Orc).  He confesses to Tyrell, "I've done questionable things." To which Tyrell replies, "Also extraordinary things." Roy retorts, "Nothing the god of biomechanics wouldn't let you in heaven for."  He then kisses Tyrell and begins to crush Tyrell's skull and poking his eyes out.  The scene cuts between Roy's face illuminated by candle flames and the owl's eyes.

Deckard meets Pris: Pris disguised as a doll attacks Deckard.  Her movements are acrobatic and somewhere between freedom of expression and mechanical.  At her death she cries out hauntingly and jerks in horrible mechanical movements of her (once graceful) limbs.  Unlike Zhora's and Leon's death, we see this as clearly another species.  The uncanny quality is of Pris's death is worth exploring.
 

to be continued next class...