Reality And Television And Its Consequences

Reality and television and its consequences

Introduction

The reality, contrary to what many think, is not unique or invariable, so the present argumentative essay aims. Interactive film for viewers, since it allows the making of several decisions about life the protagonist, thus causing different realities for Stefan, who is immersed in royalty the creation of a video game.

Each choice taken by the viewer, in the course of the life experienced by the protagonist, constitutes a way of seeing each of its exterior and subjective realities. This film film, provides the possibility of performing an analysis about free will, destiny, reality and aspects of social psychology, allowing us to question if: are we really owned by our own actions?, or simply are already written or directed by the social construct;Do our actions actually have any importance?, since the tape affirm the existence of parallel realities.

All those questions will be answered and argued by authors proposed and reviewed in the subject of philosophical bases of psychology and some through inquiry in unvisable texts in the field. The importance of performing this essay, based on the cinematographic dystopia mentioned above, lies in textually presenting the perspectives that were formed at the time of observing the film, from an academic stance, focused on philosophy.

Developing

One of the first phrases that can be analyzed, from a philosophical point of view, in the film tape, is: he is the thief of destiny .

.. in the book, I want to say. This proposition is made by the protagonist, Stefan Butler, when referring to Pax the demon that first chases Jerome F. Davies, author of the book on which the new video game is based, and then chases Stefan. This entity or demon, as mentioned in the film becomes a central figure in the apparent decline of Stefan to madness.

From the point of view of Davies, Pax, he was responsible for his inability to control his life, and even responsible for his supposed ability, perceive multiple reiterations of reality at the same time;And this was inherited by Butler.

Then we talked about a destination, which for the film would lead to an end, but from the existentialist humanistic point of view, as presented in the book Oratio de Hominis Dignitate, Pico della Mirandola: the man who will aspire to replace God is created byThis, from whom he even receives the power to rebel against him;He receives an indeterminate nature and autonomy to decide the determination of him, to choose his being.

Positioning fate in the hands of the human being, letting him decide on his decisions, which is related to the criteria imposed by: God has died. God is still dead. And we have killed him. Nietzsche does not literally say it, it refers to the fact that man is no longer under the command of a moral code proposed by a supreme being to him, rather, this must become a superman and what becomes by himself isthanks to him;since we are responsible for our own acts.

But all this is just an illusion, since, if we question ourselves, to what extent does free will show in the Flassnach movie? It could be mentioned that everyone is based on a flow diagram, where every choice you take takes you to a diverse end. Like Pac-Man, you know what PAC means? P-A-C: Program and Control. It is the program and control man, everything is a metaphor. Colin mentions, because of this the free will is a false illusion, because we are at the mercy of a power system already imposed, the same film makes us believe that we have the free will of choosing what to do with the character, but it is not so,since it forces us to go back to choosing another option that is not the same.

This situation refers to the work of: the Panoptic, which is based on a prison system, in which all are monitored by a single person, from a point where the guard has not been perceived. This system became so effective, that the inmates themselves came to internalize and act as if they were monitored, even if it was not.

conclusion

To which in his work the mortal disease compares the mundane man with an imitation monkey, since he does not dare to take part of himself, and surrenders with admiration and pleasure to the novelties. However, in Bandersnacht, Stefan, in a scene he rebels against, we, the spectators, when choosing one of our options, where it ceases to be a mass man away from truth, and is collected in front of God.

In addition, this author focuses on the anguish of man to have to decide, not being able to choose all the options, human responsibility, this is done by the Netflix platform with us, at the time you have to choose an option. In addition, Stefan emphasizes this ideology at the time he mentions that he was complicating a lot and I give him the illusion of free will, referring to the game’s methodology, thus mentioning again that there is no free will.

Bibliography

• Bentham, j. (1989). Panoptic.
• Denunciation, l. A., & Kierkegaard, D. AND. S. (2000). The Diogenes lamp. 1.
• Kierkegaard, s. (1849). Mortal disease. Plot and background: Culture Magazine, (8), 73–83.
• Martín, g., & Branca, V. (nineteen ninety six). G. Pico della Mirandola: by hominis dignitate – The dignity of man, introduction and critical essay by V. González Martín and V. Branca, Madrid, Mondadori, 1995. 
• Nietzsche, f. (1882). The Gaya Science. Mayéutica, 43 (95), 214–215.