Juan Mojica

Case Study Propal

Media Ethics

Sep 28, 2021

Ethical Dilemmas In Theater and Film

Dilema #1: Sex and violence on stage and in film. Performance theory in theater and film

explores physiological, societal, and spiritual dynamics in life. In a play can anything possible to

the human imagination can be made incarnate. As such, because of the dialectical interaction

between the imagination and representing what is real, theater and film often receive criticism

for stagin scenes of sex and violence. Part of the argument that wishes to censor such scenes

argues that the representation of them usually exagerates true experiences of sex and violence

and consequently influences the audince to enact extremes of them in real life. Another part of

the argument appeals to its uslessness in driving the main point of the story. Extremely poignant

violence and sex scenes are viwed as unnesesary since the point of art is to be suggestible rather

than explicit.

In opposition to this ideas, some scholars speak on the societal benefit of erradicating all

censoring from film and theater, when dealing with issues such as violence and war. In their

view, it could be as a useful medium to confront realities experientially without any real-life

consequences. In his book The Year of Hopelessness: A Year of Acting Dangerously, philosopher

Slavoj Zizek renders this idea most clearly when he says:

‘If you can’t face Hiroshima in the theater you’ll eventually end up in Hiroshima itself.’
This statement (by Edward Bond) provides the best argument against those who oppose
graphic descriptions of sexual violence and other atrocities, dismissing them as a
participant in the same violence that these descriptions pretend to critically analyze and
reject (192).
In many ways a lot of the western tradition rests on charged narratives of sex and violence. Many

of which teach us how to live and behave properly. The narrative of Christiany, for instance, has
at its center the image of flogged christ. Many religious stories contain explicit content as a way

to expose the spirit of individuals to realities so that people “are without excuse” (Rom 1.20

KJV). To reveal the inner narrative of the soul and bear responsibility for one’s humanness.

Dilema #2: Mimesis as a dangerous force. In his work of theatrical theory and analysis,

Poetica, Aristotle outlines the concept of mimesis and its essenciality within the dramatic

experience. Mimesis makes reference to the relational and influential power of performative

action. The word can be translated to mean “simulation,” or more accurately “imitation.” Theater

and Film portray a kind of imitation of an original or an essential thing or being. As such, theater

can grow to influence art in as much as art can grow to influence real life, and affect real people.

Aristotle main concern with his idea of mimesis was based on his observation of the real-

life impact that “imitation” had on the contemporaries of his time. And the unfathomable

opportunities it gave to anyone intelligent and manipulative, and who was up to the task, to

control a group of people and corrupt their being. As such, he often critized the content of the

plays that were being presented at his time and argued for the reduction of the use of mimesis.

Much like Aristotle, the philosopher Plato argued that strong sensations made possible by the

theater could have too strong of an impact on the collective mind of the audience. Since the aim

of mimesis is to “make things become real,” it bears a close resemblance to many religious

ceremonies that claim to blur the lines of reality (Woodruff 125). Rituals such as

transubstantiation (the transformation of bread and wine into Christ’s flesh and blood) and

baptism (entering life with the holy spirit) are religious acts of mimesis, which have a direct

impact on the audience. If a society chose to join around a corrupt myth of mimesis, it could

collapse.
 Dilemma #3 Who can tell what story? Writing about someone else's experience has

recently been brought to the forefront of the ethical dilemas in film and theater today. Many

scholars opposing the practice have in mind the possible agressions that can be made to a group

because of a flawed representation. Others oppose it because it takes away the opportunity for

marginalized peoples to write their own story. These group of scholars usually consider not only

the theoretical realm of performative arts, but also its practicality and influence on the social and

political world at large. However, many argue that the act of otherness is at the crux of this art.

And that it would be impossible to have any theater at all, if no authors ever aimed at putting on

paper the experience of someone who is not them.