title stringlengths 0 221 | text stringlengths 0 375k |
|---|---|
Individuals are the best actors to determine for themselves what causes they are willing to make sacrifices for. This is why we allow individuals to volunteer for wars they believe are just, to serve as humanitarian aid workers in impoverished countries, or for any number of unpleasant and potentially dangerous things. If they wanted to, no one can tell the editors and cartoonists that they were wrong to take the actions they did on account of personal safety. But anyway, it is clear that they did not comprehend the scale of the risk they were running by publishing the cartoons, so they cannot be blamed for bringing this upon themselves. | |
Radical and anti western voices in Islamic communities gained authority and legitimacy as a result of the newspapers' actions The publication of the cartoons empowered the radical fringes of many Muslim populations, by enabling them to point to the cartoons as tangible evidence of an anti-Muslim bias and anti-Muslim agenda in the West. [i] For instance, in Pakistan, these were used against the president, General Pervez Musharraf, who was perceived as being too closely aligned with the United States. Religious leaders who wanted to make the case that Denmark was deliberately offensive and a hostile environment for Muslims were able to conflate popular knowledge about the cartoon controversy with other incidents (some of them not even in Denmark) and sway support to their anti-ecumenical causes. [ii] This set back reasonable discourse in Muslim communities about how best to integrate with the West, and ultimately resulted in the weakening of internal forces that encourage acceptance of Western culture. Such a reversal for westernising forces is likely the opposite of what the newspaper would have wanted for the Muslim world. [i] Witte, Griff, ‘Opportunists Make Use of Cartoon Protests’, The Washington Post, 9 February 2006, [ii] ‘Background: Muhammad cartoons controversy’, EuropeNews, | |
Factors motivating publication of the cartoons On the individual level, the cartoonists and editors would have been wiser to look to their own selfish motivations for self-preservation; they have received many death threats from religious leaders and organizations spanning the globe, in a situation reminiscent of Salman Rushdie’s publication of The Satanic Verses. That Rushdie’s book had met with a similar reaction means that it should have served as a precedent showing what the reaction would be. As the editors should have been able to anticipate the threats they would receive if they were interested in their safety they should not have published. | |
In as volatile an atmosphere as 2000s Europe, where rates of immigration from Muslim countries into an aging Europe are high, it is clearly not wise to openly antagonize a component of your population that is already having a great deal of difficulty integrating. Unlike America, Europe generally cracks down on a variety of xenophobic and hateful actions much more stringently, and should have in this case as well. Europe is a sufficiently enlightened place to restrict individuals from burning crosses or marching in salute to the Nazi party; one would hope these practices would extend to Islam as well. There therefore in some instances is to a certain extent a right not to be offended – or at least not to have certain offensive things publicized. | |
There is press freedom, and there is good taste. Simply because some things are permitted in a democratic society, is not an argument for why they should be done. It would have been similarly distasteful if the newspaper had posted cartoons of Jews in concentration camps under gas showers, for instance. Where there are multiple ways to make a point, one must seek to convey one’s message in a manner that is least likely to gratuitously offend others. The editors of the newspaper were simply seeking to cause controversy and garner attention. | |
Chilling effects of excessive cultural sensitivity Art should be given a great deal of license. Many European and American media and art outlets create art or journalistic pieces that are offensive to or poorly received by Christians and Jews, or other minorities. By limiting discourse in the form of art, we risk not only unjustly suppressing the artists’ vision, but also cheapening and the artistic community and rendering it more homogenous. Satire has been used with extreme effectiveness in making political statements before, and this was no exception. The cartoons express the cartoonists’ own views and beliefs, and the newspaper was simply providing a medium, not dictating what they should draw. | |
Controversy, integration and civic participation The controversy has actually resulted in a much higher degree of civic participation by Danish Muslims than had previously been achieved, including town hall-style meetings, opinion columns, and radio and TV debates. This may have been better than anything else at integrating the Muslim community in Denmark into Western liberal democratic norms of how to resolve conflicts. Just because violence happened elsewhere in the world, where democracy does not currently hold sway, does not mean this was not a victory for Denmark. [i] [i] Rose, Flemming, ‘Why I Published Those Cartoons’, The Washington Post, 19 February 2006 | |
Citizens of western liberal democracies should never be required to adhere to religious norms that they do not hold There is no right not to be offended. It is one thing to show a religion respect. One respects Islam by removing shoes when visiting a mosque. However, following the taboos of a particular religion in public society does not constitute respect, but submission, and adherence to the principles of that religion, which is never required. The nature of a democratic society is that there will sometimes be disagreements about how individuals should act; insofar as Denmark has not democratically come to the conclusion that it would be better for it to be illegal to depict the prophet Mohammed in publications, it is permitted and that right must hold. [i] [i] Rose, Flemming, ‘Why I Published Those Cartoons’, The Washington Post, 19 February 2006, | |
Free expression and journalistic integrity Publishing the cartoons was not only an important expression of press freedom, but fulfils the fundamental journalistic mission of exposing the public to important information, by forcing the examination of topics that would otherwise go unexamined. Self-censorship in Islam is an important issue that deserves consideration by a democratic public. There is a clear norm that causes Islam and Muhammad to be treated differently in the Western press than the Christian or Jewish faiths or their leading figures, and the editors felt it was important to violate that norm as a demonstration of a social phenomenon. [i] They were well within their rights to do so, and this furthered legitimate discourse about religion within Denmark and the West. It should also be remembered that demonization of Israel and the West using Christian and Jewish figures is not uncommon in the Islamic press – this is therefore a pernicious double standard. [ii] Ultimately, the reaction by Muslims was unfortunate, but itself indicated the ways in which Islamic religious depictions in the press differ from their Christian and Jewish counterparts. Christian and Jewish groups have not responded with violence (though they have also sometimes staged protests), and where incidents have taken place, they were isolated and nowhere near the scale of the cartoons controversy. [i] ‘Q&A: The Muhammad cartoons row’, BBC News, 7 February 2006, [ii] ‘Q&A: The Muhammad cartoons row’, BBC News, 7 February 2006, | |
This has not benefitted integration, but rather made Muslims in Denmark feel as though they are under assault and unwelcome in their country. Particularly for new or newer immigrants, this creates a tendency to form enclave communities around a shared religion or culture and resist the mainstream society as a bloc. All the Muslim organizations in Denmark banded together against their oppressors. The few Muslims that spoke out in defence of free speech were severely ostracized by their fellows. | |
There is a difference between a government banning art, and having the good sense not to do certain things in art. Further, the “artistic skill” in drawing a provocative cartoon is rather minimal; it is not as though cartoonists are held to particularly high technical standards of drawing. Rather, cartoons are usually a vehicle by which a cartoonist conveys a joke (usually at someone or some group’s expense) for a cheap laugh. Cartoons no more constitute art than graffiti with an offensive statement on a factory wall constitutes art – that is to say, not at all. | |
There are three counter-points that can be used to challenge the proposition. Firstly, the opposition maintain that the Monarchy is highly cost-effective when compared to the expense of maintaining a Presidency with a large staff and equally stringent security requirements. Secondly, Royal residences are held in trust for the nation, and would require the same upkeep costs whether they were inhabited by a monarch or not. Thirdly, and possibly most importantly, the Monarchy more than pays its way through its generation of tourist revenue as millions visit sites associated with royalty, and through its role in promoting trade and industry abroad on royal visits. There is also evidence to suggest that the nation actually benefits financially from the Crown Estate. Figures suggested by Professor David Flint [1] are that in 2009/10 all payments to the Crown came to about £30 million. But the British government received £211 million from the Crown Estate. So the government made a very substantial profit from The Queen – about £181 million. [1] Professor David Flint, Australians for Constitutional Monarchy, available at (accessed 31/05/2011) | |
Supervising and protecting a monarchy is an unjustifiable public expense The costs of monarchy are unjustifiable. Typically monarchs and their immediate family receive substantial amounts of money from the state to maintain luxurious lifestyles, complete with servants, expensive holidays and hobbies. The state also spends a great deal to maintain and run palaces and other royal residences, which are seldom accessible to the general public who support them through their taxes. In the UK what is officially termed as 'Head of State Expenditure' amounted to £40 million in the 2007-8 financial year. However, this excludes the cost of security for the numerous family members and residences. Although the security costs have not been confirmed, it is estimated that it exceeds £50 million a year [1] . [1] The Monarchy in Britain, How much do they take from our pockets, available at (accessed 31/05/2011). | |
On the other hand, the Monarchy could instead be seen as an institution that retains an important symbolic role as a focus for national unity. The Monarch has a less formal role as 'Head of Nation'. The Sovereign acts as a focus for national identity, unity and pride; gives a sense of stability and continuity; officially recognises success and excellence; and supports the ideal of voluntary service. [1] Since they are unelected figures which are above political conflict and can therefore help countries to avoid the political gridlock that can result from conflict between two differently elected bodies, for example within the U.S.A. between the Republicans and the Democrats. Not only does the Monarch provide a symbol of National unity but also a symbol of world-wide unity. Queen Elizabeth II is the Monarch of 16 independent countries and the Head of the Commonwealth of 54 nations across the globe. [1] The official website of the British Monarchy, The Role of the Monarchy, available at (accessed 31/05/2011) | |
Monarchies, no matter how vestigal, are undemocratic The concept of Monarchy is undemocratic. If the monarch retains any significant political powers, as they do in Belgium and the U.K. for example, these are unjustifiable. Why should the opinion of just one person, in office purely by accident of birth, be able to influence the outcome of elections or call a government. Legally, in the UK the Monarch has the power to; choose the Prime Minister, dismiss ministers and governments, dissolve parliament, refuse to agree to legislation passed by parliament, pardon convicted criminals, declare a state of emergency and raise a personal militia. [1] And in some countries like Saudi Arabia they have much more absolute power. A recent example where the Monarch had a role in the United Kingdom was within the 2010 elections where no party achieved an overall majority, the Queen therefore had to sign her approval for the Conservative and Liberal Democrat coalition. [1] The Monarchy in Britain, What power do they have? Available at (accessed 31/05/2011) | |
While the Monarchy has legal rights, the real powers of European Monarchs are negligible. For example, while the Monarch legally has the power to dissolve parliament, no Monarch has done this since William IV in 1834. Technically the Monarchy also has the power to veto any legislation that comes through Parliament, however, this power has not been exercised since Queen Anne in 1708 [1] . To the point of the concept of the Monarchy, Canadian historian Jacques Monet has suggested that ''in choosing to leave the selection of their head of state to this most common denominator in the world -- the accident of birth -- Canadians implicitly proclaim their faith in human equality; their hope for the triumph of nature over political manoeuvre, over social and financial interest; for the victory of the human person." [2] [1] Republic Organisation UK available at (accessed 31/05/2011) [2] Canadian Monarchist Online (accessed 31/05/2011) | |
The head of government will already be elected. There is no need to create a competing centre of power that has the same popular legitimacy. Just as there are worries that an elected house of lords would want more powers due to its new found legitimacy an elected head of state could demand the same. Such a change would be disruptive and is not necessary. | |
There is no divine right to leadership or privilege Monarchs no longer have divine right to rule. For centuries the main justification of royal authority was a religious one. Catholic rulers had their legitimacy supported by the Papacy, Protestants rulers often headed their own state churches; in both the monarch’s rightful authority was preached in church every Sunday, while the ruler in turn protected a single national church. Currently, the Monarch is termed 'the defender of the Protestant faith'. She or he is required to be a member of the Church of England and is not allowed to marry a Catholic. Today societies are increasingly multi-faith, indeed, fewer than 5% of adults in the United Kingdom are practising Anglicans, and many people have no religion at all; hardly anyone believes the monarch has a spiritual right to exercise authority. Indeed, those whose religion differs from that of the monarch (often ethnic minorities) may be actively alienated by the way in which a particular faith seems to be privileged. [1] [1] Centre for citizenship, The Monarchy in Britain, Religion and Race, available at (accessed 31/05/2011) | |
A presidential position enable the democratic selection of a head-of-state The alternative to the monarch is obvious. Many states around the world have Presidential systems, either like the United States where the President fulfils both the role of the Head of State and the Head of Government combining the two roles. Or as in Italy or Germany where there is both a head of state (usually president) and a head of government (usually Prime Minister, although Germany’s is Chancellor) where the head of state is respected but is mostly a ceremonial role. Finally there may be both a head of state and head of government where both are powerful as in France. Therefore the head of state can still be in whatever role the state requires. Most importantly in all these cases the head of state is elected rather than simply gaining the position on account of birth. | |
Conversely, it could be argued that instead of protecting the Nation's heritage, the Monarchy has largely become an embarrassment. In an age of mass-media monarchies are no longer able to maintain the mystique which once set them apart from the common man. Instead kings, queens, princes and princesses are revealed to be mortal, fallible and sometimes foolish creatures. As their wardrobes, squabbles and failing marriages have become constant sources of media scrutiny, so any remaining respect for monarchy as an institution has waned. One key example from the U.K. member of the Monarchy Prince Harry, was his decision to attend a fancy-dress party dressed as a Nazi. Not only was this a horrific lack of judgement but it also under-minded the fact that opposing the Nazis was arguably one of the finest moments of British National Heritage. | |
Monarchs are not always above politics either and often become national embarrassments who also cannot act as a unifier for the nation. In an age of mass-media monarchies are no longer able to maintain the mystique which once set them apart from the common man. Instead kings, queens, princes and princesses are revealed to be mortal, fallible and sometimes foolish creatures. As their wardrobes, squabbles and failing marriages have become constant sources of media scrutiny, so any remaining respect for monarchy as an institution has waned. | |
Separating the positions of the head-of-state and prime minister of the government makes great practical sense The Monarchy undertakes much of the ceremonial work at home and abroad that would be necessary whether there was a monarch or not, leaving the Prime Minister free to focus more effectively upon governing. Since The Queen's first official overseas visit to South Africa in 1947, overseas visits have become one of her most important duties. The Queen pays two outward State visits each year, accompanied by The Duke of Edinburgh. She also regularly tours her other realms and member countries of the Commonwealth, so far the Queen has paid over 60 State visits to foreign governments. As well as overseas state visits, each year the Queen and other members of the Royal Family pay nearly 3,000 visits throughout the United Kingdom. Official functions often feature prominently in such visits, including opening new buildings, meeting local dignitaries and visiting businesses, schools, hospitals and other public buildings as well as community schemes, military units and charities. [1] [1] The Official website of the British Monarchy, Queen and Royal Visits, available at (accessed 31/05/2011) | |
The monarchy can serve as public role models. Although above party politics, modern monarchs have proved able to raise important and sometimes unpopular issues that would otherwise have been ignored. For example, in the U.K. Prince Charles has legitimised discussion of environmental issues and stimulated a lively debate about the purpose of architecture, while Princess Diana’s work with Aids sufferers helped shift public opinion. Charities are an important part of the Royal family's work, About 3,000 organisations list a member of the Royal Family as patron or president. The Queen has over 600 patronages and The Duke of Edinburgh over 700. [1] [1] The official website of the British Monarchy, Charities and patronages, available at (accessed 31/05/2011) | |
The monarchy is an important preserver of a nation's cultural heritage The Monarchy acts as a guardian of a nation’s heritage, a living reminder of the events and personalities that have shaped it. The Monarchy is the oldest institution of government. Queen Elizabeth II is directly descended from King Egbert, who united England under his rule in 829. As such it is a powerful focus for loyalty, the Queen's title in Britain is 'Elizabeth the Second, by the Grace of God of the United Kingdom of Great Britain and Northern Ireland and of Her other Realms and Territories Queen, Head of the Commonwealth, Defender of the Faith'. [1] The Monarchy provides a source of strength in times of crisis, for example World War II, and a reminder of enduring values and traditions. Royal traditions such as the changing of the guard are still carried out today. [1] The official magazine for Britain, The Monarchy, available at (accessed 31/05/2011). | |
The head of state should be a position that is separate and distinct from politics Monarchy is preferable to the alternative; an elected Presidency. It avoids the partisan nature of a Presidency, inevitably associated with one of the political parties, and thus incapable of uniting the nation as monarchy can. For example in the United States there has been a campaign against President Barak Obama with the most extreme views in the ‘birther’ movement who deny he was even born in the United States. It would be impossible for him to unite the nation while one in four Americans think their President was not born in the USA. [1] In all countries public trust of politicians is sinking to new lows, another reason why an elected Presidency fails to provide a focus for national feeling. Constitutional monarchy is also a more effective system of government, vesting real power clearly in the hands of democratically accountable leaders with a mandate to govern, without all the dangers of political gridlock that can result from conflict between two differently elected bodies (e.g. in the USA or France). [1] Condon, Stephanie, ‘Poll: One in four Americans think Obama was not born in the U.S.’, CBS News, 21 April 2011, (accessed 9/9/11) | |
This could be contested due to the fact that these issues and many more like them were being campaigned for long before the Royal family was involved. While they did provide a focal point for the eye of the media, the media prefer to focus on celebrities fighting for causes. Prime examples are campaigns such as Comic Relief with involves a great deal of celebrity involvement to promote a cause. For example, in the 2011 Comic Relief which raised £102 million, a series of high profile challenges took place including Chris Moyles and Comedy Dave’s 52 hour non-stop radio marathon which raised over £2.6 million and won a Guinness World Record. While nine celebrities took part in the BT Red Nose Desert Trek across the Kasuit Desert in Kenya and raised over £1.3 million in the process. The official Comic Relief mentions that the government contributed £16 million and that the public raised £86 million, however, nowhere does it mention any contribution made by the Royal family. [1] Supporters of the Republic UK also make the point that the Royals could continue to do charity work in a republic. They do not need the official 'royal' statute to raise money for charity. The Republic UK also points out that there is a big difference between simply turning up at engagements and being an engaged patron. [1] Comic Relief, News: Record breaking £102 million total, available at (accessed 31/05/2011). | |
There are others who could carry out these duties apart from the Prime Minister, for example, Deputy Prime-ministers for this exact purpose. Some of the key responsibilities of a Deputy Prime Minister involve both home and foreign affairs. The Deputy Prime Minister has significant responsibilities in other key Cabinet Sub-Committees, notably chairing the Home Affairs Committee which coordinates domestic policy issues including those relating to constitutional and political reform, migration, health, schools and welfare. The Deputy Prime Minister has an important foreign policy role, with responsibility for building a range of strategic relationships in Europe and across the world and for championing the Government’s commitment to the Millennium Development Goals. He is also Deputy Chair of the National Security Council which oversees all aspects of the nation’s security. [1] Those in favour of a Republic also argue that Britain has a professional diplomatic corps to represent the interests of the country both at home and abroad. [1] Deputy Prime Minister, Role and Responsibilities, available at (accessed 31/05/2011) | |
There is nothing wrong with judging people primarily on their physical prowess - we do this all the time in competitive sport, where fitness and strength are major determinants of success. Moreover doing so is little different from judging people on non-physical qualities such as intellect. Every competition, of every kind, values certain qualities over others - we recognise that being able to lift heavy weights isn’t the prime definition of human worth, but we can still give prizes for weightlifting; similarly, we can give a prize to a beautiful woman for her beauty without implying that beauty is all that matters about anyone. | |
Beauty contests objectify women Women in beauty contests are judged on their physical appearance rather than on any other qualities they may possess (the existence of a ‘talent’ element in many such contests is all very well, but ugly women simply aren’t going to win). Judging women, but not men, primarily on their looks contributes to the subjugation of women because other qualities, such as intelligence, are not seen as part of ideal femininity and therefore not as things to which women should aspire. Ideal masculinity, while in itself potentially damaging to men, tends to be construed in much wider and less restrictive terms - it is notable that male beauty contests, judging men on their physical appearance, are much less popular than female ones. | |
Riots often have many causes and it is only the spark that is picked up upon. The example of the riots in Kaduna is misleading; there were serious underlying tensions that were the root cause. [1] Beauty contests, like sport, can be an important focus of national or regional pride. Despite the declining popularity of competitions such as Miss World in the UK, they hold an important cultural place in many parts of the world. The victories in recent years of Miss India, Miss Turkey and Miss Nigeria in Miss World competitions made many Indians, Turks and Nigerians proud, and were seen as symbolic of those countries’ progress in competing with more powerful countries on their own terms. [1] Astill, James, ‘The truth behind the Miss World riots’, The Guardian, 30 November 2002 | |
Beauty contests are patriarchal Beauty contests promote an ideal of female beauty to which only a minority of women can realistically aspire, but which adds to the pressure on all women to conform to it. This can be harmful to women by encouraging dieting, eating disorders and cosmetic surgery, or simply by making them feel inadequate and ugly by comparison to this ‘ideal’ that is promoted. Moreover, these contests force the models and contestants to look even slimmer and perfect all the time, thus encouraging anorexia and bulimia. Naomi Wolf argues that "in terms of how we feel about ourselves physically, we may actually be worse off than our un-liberated grandmothers." Why? Because of how "cruelly images of female beauty have come to weigh upon us." [1] This pressure has therefore forced a backwards step that reduces freedom of women when in almost every other area of life there have been great advances. [1] Naomi Wolf, ‘The Beauty Myth’. | |
Beauty contests are culturally insensitive The image of female beauty promoted by beauty contests is culturally specific and western - it doesn’t matter how many Asian women win Miss World, they can still only do so if they take part in the swimsuit competition, which may well not be considered appropriate dress in their culture. This clash of cultures has led to numerous protests, demonstrations and even violence when beauty contests are going on. There were demonstrations against Miss World by feminists and Hindu nationalists when it was held in Bangalore in 1996. Riots in Kaduna in northern Nigeria over Miss World 2002 left more than 200 dead and led to the contest being moved to London. [1] [1] CNN, ‘Obasanjo blames media for Miss World riots’ | |
Beauty Pageants do limit the choice of others due to putting pressure on women to conform to this ideal of beauty which is promoted. This is limiting the lifestyle choices of many more women than choose to take part in the pageants. | |
Beauty contests are part of the system that values women solely on their appearance. It is better to break down that system than seek to work within it. Beauty contests fail to challenge harmful political attitudes to women. Despite paying lip-service to feminist keywords such as empowerment and self-confidence, they do nothing concrete to aid the liberation of women; indeed, by reinforcing looks as the most important feminine quality, they harm women’s liberation in general. The fact that the organisers of Miss World 2002 had no problem with holding the contest in Nigeria at the same time as a high-profile case in which a woman was due to be stoned for adultery exposes the competition’s hypocrisy. [1] Assigning scholarship funds based on physical appearance rather than academic merit is unfair because it neuters the aspirations of many regardless of how hard they might work. [1] Bloom, Alexis and Cassandra Herrman, Frontline World, ‘Nigeria – The Road North’, PBS, January 2003. | |
Beauty pagents are about moral than physical aesthetics Modern Beauty pageants have mandatory talent portions and are more about establishing and striving for an ‘ideal’ than rating physical beauty. This was specifically made mandatory by Lenora Slaughter in the 1938 Miss America Pageant in order to attract “ladies” to participate in the competitions. The modern form of the beauty pageant was designed by women in order to attract women. [1] [1] Hilary Levey Friedman, ‘There She Goes: A Trailblazing Feminist Beauty Queen’, Huffington Post, 15 March 2011 | |
Self defined feminists do not have the right to dictate how other women relate to their femininity A ban is a very blunt instrument with which to attack a practice. Banning beauty contests would do little to destroy the ideal of beauty as it is prevalent in many other areas of society which are unrelated to Beauty Pageants such as advertising, fashion and the entertainment industry. The only result of a ban will simply be to reduce the choice of women – who of course do choose to participate. Choice is fundamentally a good thing and everyone should have as much choice as possible so long as they are not limiting the choice of others. | |
Beauty contests are an avenue of opportunity that women are entitled to pursue In an environment where women are valued on solely on their appearance, and in which there are more opportunities for men, beauty contests give women an opportunity to improve their situations. Winning a beauty contest can be a first step toward a successful life in the future; the most attractive earn 12% more. [1] Many Hollywood actresses are former beauty queens, and they would not have reached their success without the beauty contests they won. In addition, the winners of high-profile beauty contests are able to publicize charities and causes they feel strongly about - they have a public platform they could not otherwise have gained. Beauty pageants can also empower in other ways: The Miss America competition is the largest provider of scholarship assistance for women in the world [2] , indeed it pioneered assistance for women in higher education in the 40’s and 50’s. [3] [1] Day, Elizabeth, ‘Honey Money: The Power of Erotic Capital by Catherine Hakim – review’, The Observer, 28 August 2011. [2] Miss America, 'Purpose' [3] Hilary Levey Friedman, ‘There She Goes: A Trailblazing Feminist Beauty Queen’, Huffington Post, 15 March 2011 | |
This is a red herring – beauty pageants are primarily about physical attractiveness. Broadcasting data shows that viewers turn off Miss America for the talent and interview portions of the show while continuing to watch the swimsuit portion. [1] [1] Peterson, Ivan, ‘A Challenge for Miss America in Reality TV Era’, The New York Times, 9 April 2005 | |
Each of the three approaches to proving a correlation between violent video games and criminal behaviour has its flaws. Studies that look for correlations between exposure to violent video games and real-world aggression can never prove that the games cause physical aggression1. Randomized tests, which assign subjects to play violent or nonviolent games and then compare levels of aggression, depend on lab-based measures of aggression that are difficult to compare with real-life aggression. Finally, longitudinal tests, which assess behaviour over time within a group, are a middle ground between the other two but similarly cannot prove it was the video games specifically that leads to increased aggression. In contrast to the claim that the effects of violent video games are worse than those of TV, a Potter study in 1999 found that 'children are more likely to be affected and more likely to imitate aggressive acts if the violence is depicted more realistically.'2 1 Schaffer, A. (2007, April 27). Don't Shoot. Retrieved June 2, 2011, from Slate: 2 Gentile, D. A., & Anderson, C. A. (2003, October 16). Violent Video Games: The Newest Media Violence Hazard. Retrieved June 2, 2011, from | |
Research has shown violent video games encourage criminal and anti-social behaviour Both experimental and non-experimental research have shown that violent video games damage young people playing them in both the short and long term, leading to criminal and anti-social behaviour. Exposure to violent video games causes aggressive thoughts and feelings. It also creates unwanted psychological arousal and belief in a 'scary world', especially among young children. This is particularly significant as video game graphics develop to become ever more realistic. The effects of violent video games are even worse than those of films and TV because of the interactive element that exists in video games. In addition, most video games are played alone, whereas cinema and television are usually a social experience, allowing social pressures to filter the experience of violence upon the viewer. An Australian Senate Committee established to look at this issue in 1993 concluded 'there is sufficient anecdotal evidence of a linkage…that the community cannot fail to act to control a situation which has the very real potential…to affect young people’1. 1 Senate Committee, 1993. | |
Violent video games, far from causing psychological disturbances, are beneficial to the mental health of children. Experiments show visual, tracking benefits from video games, particularly shoot-em-ups: US scientists Shawn Green and Daphne Bavelier, were commissioned to perform a study in 2003 by the National Institute of Health. According to the BBC, "they found that regular players of shoot-em-ups, such as Half-Life and Medal of Honour, have much better visual skills than most of the population1. The researchers have shown that gamers were particularly good at spotting details in busy, confusing scenes1. Experimental tests show positive focus effects of video games: US scientists Green and Bavelier found focus benefits from shoot-em-up games, even to the extent that they could be used as a beneficial tool to treat Attention Deficit Disorder2. 1 BBC News. (2003, May 28). Video games 'good for you'. Retrieved June 2, 2011, from BBC News: 2 Olsen, S. (2005, November 8). Attention deficit disorder? Try video games. Retrieved June 2, 2011, from CNet: | |
Violent video games desensitise users Violent video games do not only affect individuals but also society as a whole. The sole purpose of a player in these games is to be an aggressor. The heartlessness in these games and joy of killing innocent people create a desensitization and disinhibition to violence that can ultimately lead to a more violent society. A Bruce Bartholow study in 2011 proved for the first time the causal association between desensitisation to violence and increased human aggression1. They are also a very selfish, lonely form of entertainment which undermines the structure of an ordered, interdependent society. A study conducted by psychologists in 2007 found that of 430 primary school children, 'the kids who played more violent video games changed over the school year to become more verbally aggressive, more physically aggressive and less helpful to others.'2 1 University of Missouri-Columbia. (2011, May 26). Violent video games reduce brain response to violence and increase aggressive behaviour. Retrieved June 2, 2011, from ScienceDaily: 2 Schaffer, A. (2007, April 27). Don't Shoot. Retrieved June 2, 2011, from Slate: | |
Desensitisation is not altogether a bad development. 'For patients suffering from arachnophobia, fear of flying, or post-traumatic stress disorder, therapists are beginning to use virtual realities as a desensitization tool.'1Furthermore, society has decided to embrace violent video games, which as a result are very profitable. These games are written for adults, rather than children, and the ratings system warns of any violent content. In a modern world, the role of protecting young people should lie with responsible parents who know their kids best and take an active interest in their leisure time, discouraging or barring them from unsuitable activities. In this case, there is not enough justification for governments to intervene in people's leisure time. 1 Schaffer, A. (2007, April 27). Don't Shoot. Retrieved June 2, 2011, from Slate: | |
The government has no such right to restrict the right of free speech inherent in all video games. In a 2011 judgement, the American Supreme Court ruled "while states have legitimate power to protect children from harm, 'that does not include a free-floating power to restrict the ideas to which children may be exposed.'"1 This is in part due to the fear that to restrict violent video games would be a step towards the banning or restriction of books considered antithetical to the views of the government. A state could ban all books or films that paint a negative image of society or encourage revolution, however that is clearly the action of a dictatorial or authoritarian state. Stan Lee, the creator of comic book characters like The Hulk and Spiderman, sees a comparison to the attempt in the 1950s to restrict the sales of comic books. "Comic books, it was said, contributed to 'juvenile delinquency'. A Senate subcommittee investigated and decided the U.S. could not 'afford the calculated risk involved in feeding its children, through comic books, a concentrated diet of crime, horror and violence.'"2 As Lee notes, in hindsight this appears comical2. The same mistake cannot be made with violent video games. 1 Holland, J. J. (2011, June 27). Can't ban violent video sales to kids, court says. Retrieved June 28, 2011 from the Associated Press 2 Lee, S. (2010, September). Defend video games with Stan Lee. Retrieved June 20, 2011, from Video Game Voters Network: | |
Violent video games can cause psychological disturbances Multiple groups contend that the interactive nature of computer games considerably blurs the line that separates fantasy from reality1. As a result, game players are likely to become psychologically disturbed by the violence contained within these products. It is conceivable that many young gamers will view the new age of video games as fair depictions or representations of reality, real-world themes, real-world personalities, real-world violence. Because violent video games frequently develop and an exaggerated level of violence and destructiveness, they may arouse a belief that in a "scary world". If this is true, a greater level of fear and paranoia can be expected from such gamers in the real world than is justified. This may have the potential to lead to many adverse social effects from these gamers, such as social disengagement. 1 Gentile, D. A., Lynch, P. J., Linder, J. R., & Walsh, D. A. (2004). The effects of violent video game habits on adolescent hostility, aggressive behaviours, and school performance. Retrieved June 2, 2011, from Jounral of Adolescence | |
The government has a right to restrict the sale of violent video games, in order to protect law and order. The government has the right, and indeed the obligation, to impose restrictions that increase the security of citizens and encourage peaceful relations between them. The foundation of the social contract is the state providing security for all participating citizens. If the state believes that violent video games increase the propensity of users to commit violent acts, it is obligated to impose restrictions that will prevent such effects. The rights of individual citizens to do as they wish, and play the video games they like most, however violent, is subordinate to the government's right to increase security through the enforcement of restrictions. For example, one accepts the government's right to restrict what we carry onto aircrafts in order to prevent violent attacks. That is not to say there aren't limits to what we can carry on, just as violent video games are still available to adults we can still carry laptops and mobile phones onto aircrafts. Ultimately however, it must be accepted that the government's right to protect society includes a right to restrict the sale of violent games. | |
If restrictions on the sale of alcohol can be effective, there is no reason to believe restrictions on violent video games cannot also be similarly effective. The primary role of a government is, ultimately, to protect its citizens from damaging themselves and society as a whole. It is considered acceptable and beneficial for governments to restrict the sale of dangerous things such as alcohol and tobacco to minors or even to enforce movie ratings or the use of seatbelts. Though illegal downloading programmes would permit the download of old, violent action games, video game creators would nevertheless be forced to turn their creative capacities and technology towards better, less violent games that would, over a short space of time, saturate the market. | |
The fact there are many other contributing factors to aggressive behaviour should not lead to a blind eye being turned to the effects of violent video games. As Dill & Dill found in 1998, 'if violent video game play indeed depicts victims as deserving attacks, and if these video games tend to portray other humans as targets, then reduced empathy is likely to be the consequence…thus putting the player at risk for becoming a more violent individual’1. An Anderson and Dill study in 2000 also found that ‘students who had previously played the violent video game delivered longer noise blasts to their opponents’2. Whilst it is a truism to say that the banning of violent video games will not prevent youth aggression, it will no longer be able to act as the catalyst for it in certain cases. 1 Goldstein , 2001. 2 Walsh , 2001. | |
Video games are an outlet for childhood aggression Video games are a useful outlet for childhood aggression. As psychologist Cheryl Olson writes, kids 'use games to vent anger or distract themselves from problems.'1 Play violence has always been a natural part of growing up, especially for boys. In the past it was considered normal for young people to act out violent fantasies in harmless way, for example with toy guns in games of cops and robbers, cowboys and Indians, war, pirates, etc. These games were often inspired by films, television or comic books and magazines, just as computer games commonly are today. Now that these traditional activities are frowned upon and "enlightened" parents prevent children from having toy guns, aggressive play has simply moved indoors, on to the computer screen instead. Suppressing these natural instincts is not only pointless, it is probably more dangerous to remove yet another harmless outlet for aggression from the young. 1 Schaffer, A. (2007, April 27). Don't Shoot. Retrieved June 2, 2011, from Slate: | |
Restrictions would be ineffective Not only is it wrong for the government to take censorship-like steps against violent video games but it is also impossible to do so effectively. Violent video games will still be available on the internet and, in fact, by restricting the sale of violent video games the government will push would-be users to illegal downloading programmes (through file-sharing systems such as Limewire) and therefore to an increasingly prevalent black market. Furthermore, most games are bought by parents or with their consent. According to industry statistics, 9 out of every 10 video games are sold to adults. Moreover, there is little evidence to say that parents don't know what they are buying because a very descriptive labelling system exists for violent video games since the establishment of the Entertainment Software Rating Board (ESRB) in 1994. | |
There is no causal link between violent video games and aggressive behaviour Many researchers 1/2/3 conclude that there is no causal link between violent video games and aggressive behaviour. Other influences, such as social environment, family background and peer pressure cause aggressive behaviour. Additionally, even if video games might create violent thoughts, according to researchers there is no reason for these thoughts to display themselves in action more than the aggressive thoughts caused by frustration in non-violent video games, or by the fast pace of action films (rather than their content). The small number of people who would be affected by such aggressive thoughts are people who already are habitually violent. 1 Scott, D. (1995). The Effect of Video Games on Feelings of Aggression. Retrieved June 2, 2011, from The Journal of Psychology: 2 Funk, J. B. (1993). Reevaluation of the impact of violent video games. Clinical Pediatrics, 86-90. 3 Provenzo, E. F. (1991). Video kids: Making sense of Nintendo. Cambridge: Harvard University Press. | |
Video games are not useful outlets for childhood aggression. Modern video games cannot be fairly compared to traditional childhood play. Computer gaming is a largely solo experience, with none of the team play involved in games of war, cowboys, etc. Playing alone also makes it easier for the boundaries between fantasy and reality to become blurred, especially with the highly realistic graphics possible with modern technology. In any case, civilisation is about taming our base instincts, not celebrating the worst parts of human nature. Furthermore, and unique to video games, aggressive behaviour or its imitation at least is rewarded and repeated during gameplay1. Video games thereafter are not merely an outlet for aggression, but the fostering and feeding of that aggressive urge. 1 Gentile, D. A., & Anderson, C. A. (2003, October 16). Violent Video Games: The Newest Media Violence Hazard. Retrieved June 2, 2011, from | |
Violence towards women is a common and world-wide phenomenon, occurring on every continent and throughout history. Therefore it seems crazy to suggest that levels of domestic violence are related to this small sub-culture of music that depicts violence towards women. If we are arguing that it exposes people to situations where they hear (in lyrics) or see (in music videos) then it could be countered that if anything this music is just highlighting these incidences of violence that are still occurring and we might as well ban the news or television drama as they expose people just as much without an age reference. | |
Music depicting violence to women causes and sustains the cycle of violence. Music depicting violence to women causes and sustains the cycle of violence. The Scottish Home Affairs correspondent Lucy Adams reported in 2005 the levels of domestic abuse committed by 16-18 year olds grew by around 70%. One of the reasons suggested for this dramatic raise is the culture of music that depicts and glorifies violence towards women [1] (heraldscotland.com). Journal of Personality and Social Psychology reports that a study conducted in a variety of US states illustrated that music that depicted acts of violence 'led to more aggressive interpretations of ambiguously aggressive words, increased the relative speed with which people read aggressive vs. nonaggressive words, [...]The violent songs increased feelings of hostility without provocation or threat'. Although they are quick to assure that it is NOT the music type that has this affect, it is simply the lyrics, as even humorous aggressive songs have this effect. They conclude with the idea that 'Repeated exposure to violent lyrics may contribute to the development of an aggressive personality' and thus lead to more aggressive behaviour. While currently there is little to no research specifically on the link between domestic violence and lyrics that depict abuse to women, the current information that we have on violence and music lyrics suggests we can expect a similar effect. Thus if we were to ban music depicting violence towards women, people could not be influenced by it and levels of violence would drop. [1] Adams, L. Why rap drives teenagers to domestic abuse; Songs blamed for 70-per cent increase in young victims. Herald Scotland 7 October 2005 | |
The difficulty with this is that games, DVD's and films are all very visual medium, whereas music is audible and arguably a more imaginative medium. Other non-visual mediums, such as literature, are not restricted by age ratings and therefore it seems unfair to restrict music on these grounds. | |
This type of music is degrading to everyone, not just women. While music depicting violence towards women appears on the surface to only demean women, it can be offensive and degrading to a range of people. One popular culture reference to a situation like this comes from the British television show called The Office, in the episode 'Merger'1. In this episode the character David Brent tells a racist joke and while this did not offend the black character present, many other characters were still offended by this joke. People may be offended by the ideas behind the music, as it seems that people who glorify violence towards women in song appear to think that this violence is acceptable. Men could be offended by these ideas just as much as women might. As songs like this become 'mainstream' in some cultures, everybody in that culture becomes affected by it, and some men and women may feel degraded by this association. Finally some people may argue that the person who writes and/or sings lyric that depict violence towards women degrade themselves in this act. 1 DailyMotion. The Office (U.K.) - Explaining a Joke. Retrieved August 23, 2011. | |
The issue of whether music is degrading to women or any other demography in society is irrelevant to the question of whether it encourages violence or aggression towards women. In fact, the proposition undermines itself through this claim by suggesting that this music should encourage violence to all segments of society; should we therefore ban all music? | |
The music is not the reason for the lack of respect for women; rather it is a much broader problem that cannot be prevented simply by targeting music. Within the part of that culture that is music the problem is not that music depicting violence toward women provides negative role models but rather that there are no positive role models to balance this. Banning music depicting violence towards women would not solve the problem as it still would not provide positive role models in order to replace the previous depiction. Therefore rather than putting energy into banning music depicting violence towards women, we should create a counter culture of strong, independent women who will not stand by domestic abuse or violence. | |
It would be easy to apply restrictions on music. We already give films, DVD's and games an age appropriate rating. In the United States, the Motion Picture Association of America is charged with the responsibility of providing ratings to consumers [1] . It would seem that it would be simple to stretch these criteria to a similar music body. Therefore people would only be subjected to violent lyrics when it is deemed they are old enough to hear or buy this material, and it would stop younger people from being exposed to this kind of music. This also means that no new state-run institution needs to be created; it would operate, like the MPAA, independently of government control. As such, claims that any form of music censorship would suffer from practical problems are short-sighted, we simply need to extend the medium that already exists. [1] Motion Picture Association of America | |
Music depicting violence against women encourages men (and women) not to respect women. Asha Jennings began a boycott of misogynistic music in hip-hop, resulting in the 'take back the music' campaign supported by essence magazine. Jennings claims that this type of rap/ hip hop music is 'telling people [black women] are bitches and hos and sluts and not worthy of respect [...] And that's exactly how society is treating us'1. She continues that images of women 'tends to be objectified, degrading, very stripper-like' or as nagging vicious and manipulative money grabbers1. Jennings' worry is that in these videos women are depicted as menial, subservient and purely as the object of men's entertainment. The lyrics that go with these music videos compound these ideas of women as undeserving of male respect e.g. 'wouldn't piss on fire to put you out' (Eminem), 'Then I straight smoked the ho [...] and she thanked me' (NWE) (All lyrics in full are in the scrapbook). These images in themselves are violence towards women, as they dehumanise them. As this becomes a dominant image in society, young people who look up to these rappers mimic their behaviour and believe it is ok to disrespect women,2 as that is what they have been exposed to. This works in the same way for young girls, who cannot relate to the male rappers and so instead mimic the women they talk about, while also following their views on women. This idea that women are not deserving of respect must affect the levels of violence towards women as if you abuse someone you cannot fully respect them. Therefore if music depicting violence (and for this argument, disrespect) towards women was banned, then violence towards women in the real world would be reduced and this must be seen as a good thing. 1 CNN, Hip-Hop Portrayal of Women Protested, 2005 2 Burnham, L. Nightmares of Depravity. Durland 21 June 1995. | |
However, while freedom of expression is definitely an important concept to consider, such freedoms can only go so far. When it comes to language that promotes violence then freedom of expression is no longer sufficient reason not to ban something as a physical harm outweighs the right to freedom of expression. Many countries such as Canada, England, France, Germany, the Netherlands, South Africa, Australia and India ban hate speech because it has severely damaging effects injuring people's dignity, feelings and self-respect and potentially promoting violence.1 Similarly, if we accept the arguments in the proposition arguments above, and we believe that this type of music can be harmful, then it seems that perhaps freedom of speech can be over ridden in order to protect those that this music injures (i.e. some women). Furthermore the banning of music which glorifies violence towards women may perhaps overtime lead to people's attitude toward this style of lyrics changing, and therefore any harmful attitude that arise from it may begin to be unacceptable by the majority. 1 Liptak, Adam, ‘Hate speech or free speech? What much of West bans is protected in U.S.’, The New York Times, 11 June 2008 | |
None of these arguments pose a significant problem. While setting criteria may be difficult and there will always be cases where it is a matter of interpretation this is not a reason not to create a strict and detailed set of criteria. There could be an appeals process to make sure that a song is not banned based purely on one individual's opinion. That a ban on recording and selling the music could be avoided through pirating or songs being passed down orally does not matter as if this was happening the ban would already have enough of an impact. The ban does not have to be totally comprehensive in order to have the desired effect of reducing violence towards women simply that it prevents many people listening to the music. The audience would be reduced to a tiny minority and those who remain would be aware of the lyrics as they would have to specifically seek out the music rather than simply being exposed to it with little thought of what it may contain. Finally there is unlikely to be a large forbidden fruit effect, some people may want to try it in order to find out what it is like. But unlike for example drugs there are direct substitutes that would be almost exactly the same but without the violent lyrics so there is little point in going to the extra effort to get illegal versions. | |
To ban this type of music encourages the viewing of women as helpless, victim figures. Many feminists criticise the idea of banning music that glorifies violence against women, as they perpetuate the idea of women as helpless victims who cannot cope with male criticism or violent language. One such group of people are 'power feminists'1 These power feminists believe that by complaining that men are depicting violent language towards women, and attempting to get this banned, the gender stereotype of women as a victim is reinforced; thus undoing any feminist progress that tries to assert men and women are equals. Power feminists believe that instead women should take this language in hand, assert/ defend themselves and retaliate in order to state that women are equals to those who produce this violent music. 1 Campbell , R. L. Part I: Power Feminist or Victim Feminist? 24 March 2004. | |
The 'Slippery-Slope' Argument Banning music that glorifies violence is at risk of the 'slippery-slope' of censorship, which occurs on two levels. Firstly that while music depicting violence towards women may be banned for the best intentions, this censorship may end up extending to other unpopular pieces of art, literature, film or news stories. It may follow that once music depicting violence is banned, that definition of violence may be expanded, afterwards that it is easier to ban songs that contain a political message as there is already precedent. While it is unlikely that it would ever be carried to such an extreme this could continue, until simply anything that is disliked by those in control of the banning is prohibited. It may also discourage people to say or publish expressions of their own for fear of them being considered pornography and being prosecuted1. Equally likely would be the spread of such bans to other forms of media as mentioned in opposition argument one.The second concern of the 'slippery slope' argument is that banning this type of music may cause a stagnation of creative output as people are scared to produce any music that might be considered offensive. This might result in no new styles of music being created and thus styles of music may begin to become torpid. 1Schauer, Frederick F, Free Speech: A Philosophical Enquiry, (Cambridge: Cambridge University Press, 1982) | |
To ban music that encourages violence against women would be done with the intention of protecting women; if it is necessary to paint them as the victims of violence that they are, that is a small price to pay. Furthermore, bans on child pornography would Many of those who argue that censorship of music depicting violence towards women would be a bad thing do so on libertarian grounds. That is, they believe that to restrict the creation, circulation and consumption of this type of music would result in a restriction of people's freedom of speech/ expression. As some people enjoy and relate to the type of music that depicts these images, to deny people the right to listen to this music is to unfairly restrict their enjoyment and marginalise their tastes. Some people take this further to say that morbidity is part of the human condition. A consequence of our highly developed brains is that we become very conscious of our mortality, we become fascinated with violence as well because it is so closely linked to death, and we all want to understand death, we all want to know what happens after we die. So people end up seeking different ways of dealing with their fear of death, and one common way is desensitizing ourselves to the idea, perhaps through subjecting ourselves to an environment awash with death, i.e. music that depicts violence. This obviously extends to the creative aspect of humanity as well. We all spend a lot of time thinking about violence, so it is not really surprising that the most creative of us end up making art about it. From paintings, to music, to theatre, we are obsessed with violence in our entertainment, even gratuitous violence. We have famous painters like Francisco Goya who invoke gruesome violence for effect1 and who also receive critical acclaim; Stanley Kubrick won an Oscar nomination for directing A Clockwork Orange, a movie rampant with violence, sexuality and misogyny. Both these examples show violent art which have had both critical and commercial success. Therefore for the proposition argument to successfully defend the banning of music depicting violence towards women it would seem that we would equally have to ban films and paintings that display similar themes. This would result in a huge restriction of expression and society would potentially loose a vast amount of creative output. Furthermore from the examples given above it would seem that a ban would go against popular desire. 1 Francisco Jose de Goya. 'Saturn Devoursing his Son.' Wikipedia. | |
It would be highly impractical to ban this music glorifying violence. There are many reasons it would be impractical to ban certain types of music: First, who would choose what music counts as inappropriate and on what criteria? This would include concerns such as the Rolling Stone's song, 'Brown Sugar' which depicts sexual violence towards a slave by a slave owner (see scrapbook). It would be up to this censor to assert whether this song is highlighting and mocking a distressing moment in history, or whether it is glorifying this incident or merely describing it with no moral judgement. The censor would also have to then choose which of these where fitting reasons to ban the song. This is just a matter of opinion and thus no-one can be unbiased in making a decision. If this is true then it seems that no-one should have the right of it over someone else's opinion. Second while there could be a ban made on recording or selling songs that depict violence towards women, or prohibit them being played on the radio, with current technological advances it would be very difficult to enforce a total ban. Music is widely available on thousands of websites via video/internet radio etc. More basically, music is a very communal activity and people may sing in crowds or to each other. Country songs (as a genre) have one of the highest percentages of music depicting violence towards women, and these songs tend to have an oral history. Thus even if there was a ban on new songs being recorded, these old songs would continue to be heard and new songs may be heard to a smaller audience. Thus people would still be exposed to these lyrics of women being abused in music. The final reason it would be difficult to ban music that depicts violence towards women is that this runs a risk that this will only encourage musicians to write such songs, which become more popular for being 'forbidden fruit'. | |
No 'slippery slope' situation exists. It would be clear that the ban only applies to music that glorifies violence. This is not a justification that could be infinitely expanded to cover more and more music and art. It could not be considered a precedent to ban music with a political message as most political messages do not promote violence. Far from stifling creativity it is likely to stimulate it. Artists would need to find new styles of music and would attempt to find ways around the ban while still keeping their music as near to its previous style as possible. | |
To ban music that encourages violence against women would be done with the intention of protecting women; if it is necessary to paint them as the victims of violence that they are, that is a small price to pay. Furthermore, bans on child pornography would not be met with claims that their ban merely encourages the view of children as victims (as an argument against the practise). Why is that any different in this case? improve this We desire freedom of expression. | |
This argument is just specious. There have been plenty of times in history when medicine was ‘learnt on the job’, it didn’t make it a good idea. However, and medicine is an excellent example, we now realise that there is a huge benefit to having students acquire a theoretical underpinning of their discipline before going on to get some hands on experience. Of course there is some need for practical training but there is little reason why universities cannot offer this rather than individual artists. | |
The Arts should be learnt on the job – it’s a craft The idea that the best place to learn an artform is a classroom is fantastically modern. The idea of teaching them at all is fairly recent. If ever there were an example of ‘those who can, do; those who can’t, teach’, then it’s the arts. Novelists, poets, painters, dancers, composers, musicians and others have been learning from each other as they practiced their art for, quite literally, millennia. Practitioners learning by doing has worked perfectly well for most of history and produced, for example, the extraordinary works of the renaissance or classical art mostly without the benefit of a university degree. All a degree in this area does is extend the period of delusion that an individual is good enough to cut it as a professional artist [i] . [i] Goldman, Jeremy, ‘Actors dilemma: Theatre major vs. No theatre major’ USA Today, 25 June 2012. | |
This isn’t an either/or discussion. Despite Prop’s efforts to suggest that there are masses of homeless, would-be engineering students roaming around university campuses, the reality is that universities pack their bankable courses just fine and ensure that they have the capacity to do so. The fact that universities do not just churn out an endless round of vocationally-focussed graduates is hugely to be welcomed. If nothing else, it ensures that the university experience itself is a well-rounded one. The very fact that students continue to apply for these courses, and universities continue to meet that demand, suggests that applicants are interested in something more than money. Presumably the very students who are applying for such a degree – and will shoulder the repercussions of having one – form part of society and are quiet happy to ‘afford’ their degree. | |
Creative arts graduates are rarely well rewarded It is a simple fact that degrees in the Arts offer less earning potential than those in all other sectors (except Education and social work) [i] . As well as being an issue for the individual, this affects wider society, as those on lower incomes are more likely to become dependent on the state at some point in their life and are less well placed to stimulate other sectors of the economy through their own consumption. The median earning figure across Arts degrees is, itself deceptive. The median in the US is $45,000 but this disguises the lower end of the scale, with 25% earning $30,000 a year or less. Unlike education and social work which at least tend to have the consistency of a government salary, the Arts are also fantastically unreliable as an employment sector. Teachers and social workers may have comparatively low salaries but at least they can be assured of job security. The Arts offers low and unstable wages, frequently at an ongoing expense to the taxpayer, when the jobs exist at all. As a result, encouraging the creative arts through university qualifications places both an initial and, potentially, ongoing cost on the rest of society. It also means that graduates are likely to be destined to long term financial instability because of a decision they made as a teenager. It is difficult to see who benefits from such an arrangement. [i] ‘Arts’, Georgetown University, | |
Very few go into the arts expecting a high income, they do so because they enjoy it. Likewise, the very fact that people pay for the arts – both through their own purchases and social funding, suggests that the pleasure that performance - and other creative arts – gives is recognised by wider society. The output of the Arts sector provides entertainment and pleasure to others in a way that really cannot be said of, for example, banking or derivatives brokerage. By the by, it would also be interesting to see how any graduates in, say, the humanities are likely to match the earning potential of a movie star or an ‘it’ artist. | |
Arts degrees limit opportunities for Universities to offer other courses Universities have to provide a range of courses, some of which are going to be more financially viable than others, that fine. However, investment in one area inevitably means that there are resources not being focused elsewhere. It’s not a huge factor but some subjects – creative arts, Theology and a few others do represent a ‘back door’ into universities for those who didn’t get the grades to get onto more demanding courses. Those students still need to sleep, study and socialize somewhere – in place of those who could have taken their places on Engineering, Medicine, Economics or similar courses had the space been available. By keeping these courses, universities are turning away students for other disciplines and those studying the arts courses are learning in a way that may not be the most productive – as mentioned in the previous argument. It’s difficult to see who wins. | |
Opp’s case sounds excellent, and reasonable and sensible. And complete nonsense. Those countries that have changed their fee arrangements for students in recent years, such as the UK, have seen that students are very concerned with whether their degree is likely to cover the cost of taking it – now that they are expected to pay for it. When it is society at large footing the bill, unsurprisingly, they are less concerned. Of course the financial outcome of doing a degree is of paramount interest to both the student and wider society, suggesting otherwise is sophistry. | |
Opp makes an excellent case for further refining the role of Higher Education but not a very satisfactory one for keeping it structured as it currently is. The whole point here is that nobody benefits – not the graduate, not the Arts and not the society that is footing the bill. The benefit to society of art would remain if the arts were no longer taught as university degrees. | |
The Arts pay their way in film, heritage and design industries The major film, theatrical, dance and other artistic ventures of any nation provide an enormous benefit in terms of reasons to visit as country, or travel within one. Going to the theatre, for example, has knock on benefits for the catering, transport, and retail sectors as well as crating employment in its own right for many who never went anywhere near a degree in the Arts [i] . For many nations one or two key sectors of the arts are massive revenue generators – especially film, television and music. Theatres and galleries have considerably more pulling power than heavy industry or high finance for tourists [ii] – and Prop has been very quiet on the subject of architecture, without which the bankers and financiers they so admire would be homeless. The arts may not square up to banking in terms of the amount of money earned for the economy but they also have much less of a record of damaging the rest of the economy through sparking crises. Even just focussing on the finances of the sector, the Arts justify their presence not only through their own revenue but also through those other sectors that benefit as a result but pay nothing towards their development [iii] . [i] Lord, Clayton, ‘The Value of Arts is Not Going to be Found in Economics’, New Beans, 19 May 2011. [ii] The National Campaign for the Arts. Theatre: Contribution to the Economy. 2010. [iii] National Endowment for the Arts. ‘Art and GDP.’, | |
The notion that money is the best way of judging value is far more damaging to society than the Arts If the value of a degree is judged purely on the likely salary at the end of it, then society has a very real problem. Even without rehearsing the fact that other disciplines would vanish by the wayside, it also ties into the myth that a degree is simply a vocational tool to increase the salary of the person taking it [i] . The mindset that insists that everything can be reduced to the level of individual income has also brought us the obscenity of the bonus culture in high finance and, so far, five years of recession. The value of the arts is primarily non-monetary; it comes from the psychological benefit of well-designed buildings [ii] or the happiness and creativity stimulated by engaging with a work of art. [iii] University fulfills a far wider societal role in terms of training the mind and socializing the individual. For the vast majority of students, it also provides a respite between the constrictions of the family home and those of the workplace. It is also just possible that people select their degrees primarily because they are interested in them. That in itself is something that cannot be said of significant parts of the world of work. The logic of this motion is that all members of society are employers – or at least wealth generators – first and last. Their role as voters, community members, parents, and plain human beings seems to be irrelevant to both the spirit and wording of the motion and the Proposition’s case. [i] Edgar, David, ‘Why should we fund the arts?’ The Guardian, 5 January 2012. [ii] Steadman, Ian, ‘Study: school design can significantly affect a child’s grades’, Wired.co.uk, 3 January 2013, [iii] Alleyne, Richard, ‘Viewing art gives same pleasure as being love’, The Telegraph, 8 May 2011, | |
The Arts provide huge benefits to society; easily comparable to humanities or theoretical science It has already been mentioned that there are plenty of degrees where it is unlikely that graduates will ever use the knowledge they acquire, per se, in their later careers. Proposition has failed to give a reason – other than earning power – as to why the creative arts should be singled out on this ground [i] . However, in terms of the general utility provided to wider society, it would be hard to point to a discipline that out performs the arts. Every TV drama, theatre production, concert and so on is likely to include at least a smattering of participants who studied the subject. It is in the nature of the arts that its audience massively outnumbers those participating in its production. Beyond that the trickle down affect of knowledge into every area of public life from ideas and concepts initiated by artists is enormous. However, if Prop’s entire case is that artists should be paid more for the enormous amount of good they do, we are quite happy to concede the point. [i] McCarthy, Kevin F. et al., ‘Reframing the Debate About the Value of the Arts.’, The Rand Corporation, 2005, | |
This is a little like saying that the petroleum industry benefits from medicine because of the need for ambulances. People would still go out for dinner and still take holidays. More to the point, as has been suggested, they will still go the theatre or cinema, where people will still act. The issue here is that Universities are unnecessary in the process of training creative artists. | |
Reality TV does not discourage hard work or education, rather it creates a society whereby we have shared experiences and a strong sense of community. As such, reality TV provides an important social glue. Once upon a time there were only a few television channels, and everybody watched the same few programmes. The sense of a shared experience helped to bind people together, giving them common things to talk about at work and school the next day – “water cooler moments”. Reality programs like ‘Survivor’ play that role in contemporary society with viewership being ‘almost a cultural imperative’, the experience shared simultaneously with friends and family.1 Furthermore, even if it were the case that the moral lessons of reality programmes are not always advisable, just as viewers can empathize with characters in the Godfather without wanting to be them, the same applies to questionable characters and actions in reality shows.2 1 Sanneh, K. (2011, May 9). The Reality Principle. Retrieved July 4, 2011, from The New Yorker 2 Poniewozik, J. (2003) All the News That Fits Your Reality Retrieved July 4, 2011, from TIME MAGAZINE | |
Reality TV encourages people to pursue celebrity status, and discourages the value of hard work and an education Reality shows send a bad message and help to create a cult of instant celebrity. They are typically built about shameless self-promotion, based on humiliating others and harming relationships for the entertainment of each other and the viewers at home. These programmes suggest that anyone can become famous just by getting on TV and "being themselves", without working hard or having any particular talent. Kids who watch these shows will get the idea that they don't need to study hard in school, or train hard for a regular job. As John Humphrys points out, 'we tell kids what matters is being a celebrity and we wonder why some behave the way they do' 1 As American lawyer Lisa Bloom fears, 'addiction to celebrity culture is creating a generation of dumbed-down women.'2 Reality shows encourage such addictions and promote the generally misguided belief that they should aspire to be the reality stars they watch on their televisions. 1 Humphrys, J. (2004, August 28). Take this oath: First, do no harm. Retrieved July 4, 2011, from The Guardian: 2 Becker, A. (2003, March 1). Hot or Not: Reality TV can be harmful to women. Retrieved July 4, 2011, from Pyschology Today | |
Reality TV programmes are not corrupting. They do reflect our society, which isn't always perfect, but we should face up to these issues rather than censor television in order to hide them. When Adam Lambert, an openly gay contestant on American Idol, lost in the final of the show despite being widely regarded as the best singer, many rightfully pointed out what it demonstrated about the homophobia of American society. To deride reality shows as 'corrupting' therefore is misguided; it is society who is corrupt and reality shows that offer a potential solution. To solve a problem first requires accepting one exists, and reality shows provide a means to do that; they are a window into society, permitting everyone to reflect on the issues that are most harmful to society. As such, reality show producers should not be accused of a lack of creativity or laziness for their programmes, but congratulated for drawing attention to important issues. | |
The sheer number of reality programmes is now driving TV producers to create filthier, more corrupt reality shows Reality TV is actually getting worse as the audience becomes more and more used to the genre. In a search for ratings and media coverage, shows are becoming ever more vulgar and offensive, trying to find new ways to shock. When the British Big Brother was struggling for viewers in 2003, its producers responded by attempting to shock the audience that little bit more1. "Big Brother" programmes have also shown men and women having sex on live TV in a desperate grab higher ratings to justify their continued existence. Others have involved fights and racist bullying. Do we let things continue until someone has to die on TV to boost the ratings? When reality is "constructed" then it substitutes the "natural" reality. This in turn has adverse effect on the natural growth of the children who are either actively involved into it or as audience become a passive recepient. We therefore in a pursuit of commercialization are taking away an inalienable right of children i.e. full personality development in a natural environment which is not contaminated by "constructed" reality. 1 Humphrys, J. (2004, August 28). Take this oath: First, do no harm. Retrieved July 4, 2011, from The Guardian: | |
Reality shows are not becoming more corrupt or more filthy. What has changed is rather what the public defines as acceptable viewing. In other words, the gap between what is actually real and what is presented as reality is closing thanks to modern reality programs. And the gap is closing due to popular demand to see reality on their TV screens. For example, the sex shown on Scandinavian episodes of Big Brother is not shocking or unrealistic, it is only unusual in the context of what we expect to see on television. The fact it was shown only illustrates that the gap between what is actually real and what is presented as reality on television is closing. If the proposition has an issue therefore with what modern reality shows are presenting, they have an issue with society at large, not reality programs. Even if were the case that reality programmes are getting more corrupt and filthy, viewers should take the advice of former U.S. President Bush Jr. and 'put the off button on.' | |
Reality shows are real; they are real people operating without scripts and often, live. The fact that characters are often cast to encourage disagreements or tension does not take away from the reality of the program, in fact it only adds to it. The unrealistic settings of shows like Big Brother and Survivor do not take away from the educational value of observing how they cope. In fact, without such shows, most people would have little concept of how a group of strangers would be able to survive, co-operate and develop in such environments. As Time describes, 'they provoke, they offend but at least it's trying to do something besides help you get to sleep'. The insight therefore into the human condition is invaluable, and it is little surprise that viewers are eager to watch such programs. What is real is not always the same as what is normal, the events on Survivor Island are no less real for being in an unrealistic setting. | |
Reality shows make for bad, lazy and corrupting television, encouraging such behaviour in society Reality shows are bad, lazy and corrupting television. They mostly show ordinary people with no special talents doing very little. If they have to sing or dance, then they do it badly – which doesn’t make for good entertainment. They rely on humiliation and conflict to create excitement. Joe Millionaire, where a group of women competed for the affections of a construction worker who they were told was a millionaire, was simply cruel. The emotions of the contestants were considered expendable for the sake of making viewers laugh at their ignorance. Furthermore, the programmes are full of swearing, crying and argument, and often violence, drunkenness and sex. This sends a message to people that this is normal behaviour and helps to create a crude, selfish society. One American reality show, “Are You Hot?”, in which competitors submit to a panel of judges for ‘appearance-rating’, was blamed by eating disorder experts as encouraging the notion that ‘appearance is the most important thing’ (Becker, 2003).1 Furthermore, Paul Watson, a former reality TV show producer, believes they are ‘predictable and just creates more of the same and makes our film makers lazy’ (Jury, 2007). 1 Becker, A. (2003, March 1). Hot or Not: Reality TV can be harmful to women.Retrieved July 4, 2011, from Pyschology Today 2 Jury, L. (2007, January 4). The Big Question: Has reality television had its day, or are audiences still attracted to it? Retrieved July 4, 2011, from The Independent | |
Reality shows are not 'real', therefore they have no education value Reality TV is dishonest – it pretends to show “reality” but it actually distorts the truth to suit the programme makers. The shows are not really “real” – they are carefully cast to get a mix of “characters” who are not at all typical. Mostly they show a bunch of young, good-looking self-publicists, who will do anything to get on TV. Usually the programme makers try to ensure excitement by picking people who are likely to clash with each other. They then place them in unnatural situations, such as the Big Brother house or the Survivor island, and give them strange challenges in order to provoke them into behaving oddly. In The Bachelor, where a group of women compete for the affections of an eligible male, the ‘intimate dates’ they go on are filmed in front of any number of camera; that is not reality (Poniewozik, 2003).1 Finally the makers film their victims for hundreds of hours from all angles, but only show the most dramatic parts. Selective editing may be used to create “storylines” and so further manipulate the truth of what happened. 1 Poniewozik, J. (2003) All the News That Fits Your Reality Retrieved July 4, 2011, from TIME MAGAZINE | |
Reality shows are driving out other sorts of programmes, so that often there is nothing else to watch. Reality TV is cheap and series can go on for months on end, providing hundreds of hours of viewing to fill schedules. TV bosses like this and are cutting back on comedy, music, drama and current affairs in favour of wall to wall reality rubbish. This is even worse when reality shows crowd the schedules of public service broadcasters. Stations such as the BBC in the UK, France Télévisions, or Rai in Italy have a duty to inform and educate the public. They should be made to meet that responsibility – as Rai has by saying it won’t have any more reality shows. | |
Reality television is not what audiences want, it is watched simply because it is ‘there’. It is what John Humphrys calls ‘carbohydrate television’, it ‘probably hasn’t done you much harm and if it leaves you feeling a bit bloated…well you can search out of a bit of quality stuff’. [1] With tens of television channels and twenty-four hours of programming to fill, reality is simply a cheap means to ensure there is always something on TV to watch. In Italy, the evidence supports such claims, with the state broadcaster Rai deciding to scrap reality programmes in 2008 due to low demand. [2] As Rai’s President stated, ‘I don’t believe they are the type of shows the majority of our viewers expect or want from a public service broadcaster’. [3] [1] Humphrys, John. “Take this oath: First, do no harm.” 28 August 2004. The Guardian. 4 July 2011. [2] Fraser, Christian. “Italian TV bins reality shows.” 3 April 2007. BBC News. 4 July 2011. [3] Fraser, Christian. “Italian TV bins reality shows.” 3 April 2007. BBC News. 4 July 2011. | |
Reality TV can be educational and have real effects in society in a way other television programmes do not Reality TV can be very educational. They educate people by displaying disastrous consequences of someone's behaviour, thus deterring others from doing unplanned and silly actions. Programmes such as "The Apprentice" have made people think about business. Jamie Oliver has raised issues of youth unemployment and poor diet, and "Fit Club" has got people thinking about health and fitness. Jamie Oliver's inaugural reality show, 'Jamie's Kitchen', offered jobless youngsters the 'chance to train and lead a nationwide campaign to improve the quality of school meals'1. Without the TV show's popularity funding the initiative, the youngsters involved would not have had such an opportunity and school meals would still reflect what kids want to eat, not what they should be eating. Such effects on society are beneficial and should be encouraged, not restricted. 1 Jury, L. (2007, January 4). The Big Question: Has reality television had its day, or are audiences still attracted to it? Retrieved July 4, 2011, from The Independent | |
Reality television forces us to analyse our own behaviour as a society Reality TV actually has a lot of value to our society; they are effectively anthropological experiments, allowing the public to study people and societies from the comfort of their living rooms1. Humans are endlessly different and endlessly interesting to other humans. In these programmes we see people like us faced with unusual situations. Shows like Survivor, which place a group of strangers in remote environments, make us think about what we would do in their place, and about what principles govern human behaviour in general. It also shows us people who look and act very different from us, and helps us see that actually we have a lot in common with them. MTV's reality show 'Making the Band 2', a 'hip-hop American Idol', gives centre stage to inner-city kids who would be portrayed as criminals or victims on a cop drama. There is nothing immoral about reality shows, merely the society which demands them; these shows are just a product of our values and desires. We should face up to these issues rather than censor television in order to hide them. 1 Sanneh, K. (2011, May 9). The Reality Principle. Retrieved July 4, 2011, from The New Yorker | |
The public can always just turn reality programmes off, or watch something else Television provides a wide mixture of programmes, including reality television. For those who want it, there is high quality drama such as "The Sopranos" or "Pride and Prejudice" whilst the BBC, CNN, Al-Jazeera and other international broadcasters also cover news and current affairs in great depth. Wildlife programmes on the National Geographic or Discovery bring the wonders of the natural world into our living rooms. More sports are covered in more detail than ever before. So, ultimately, reality shows have not ruined television as a whole, they have merely added another option for viewers. Indeed, because they make a lot of money for broadcasters to spend on other types of programmes, they are actually good for all viewers, regardless of personal taste for genres. | |
Reality television is popular and TV producers should give audiences what they want Reality television programmes are very popular with audiences of all ages and types. They may not be high culture but most people do not want that from television. Most viewers want to be entertained and to escape for a while from the worries and boredom of their everyday life. American Idol rejectees who stubbornly insist that they have talent provide such escapism. [1] Furthermore, and importantly, such contestants are good natured in doing so, they are not exploited but offer themselves to reality shows. [2] Therefore, there is no harm in giving the people what they want – that is what the free market is all about. Reality shows are also popular because they exploit new technology so that millions of people can participate in the programme – typically by voting. Britain is believed to have had as many as 176 reality TV shows in a single year. [3] Such supply can only be driven by excessive demand. [1] Poniewozik, James. “Why Reality TV is Good for Us.” 12 February 2003. Time. 5 July 2011. [2] Poniewozik, James. “Why Reality TV is Good for Us.” 12 February 2003. Time. 5 July 2011. [3] Jury, Louise. “The Big Question: Has reality television had its day, or are audiences still attracted to it?” 4 January 2007. The Independent. 4 July 2011. | |
Reality TV is less about exposing society and allowing us to evaluate our own behaviour than it is about 're-inforcing particular social norms'1. As such, it is deliberately misleading. If it is portrayed as being real, it implies authenticity and honesty, two things that most reality TV programmes are not. They serve not to challenge our views of society, but reinforce the often false notions we already collectively hold. For example, the US reality show "Are You Hot?" asks competitors to submit to appearance-rating by judges, only re-inforcing the false premise that one is defined solely by the way they look2. Furthermore, even if accepted that reality shows do present a 'real' image of society, programmes like Big Brother and Survivor erode the distinction between public and private, turning 'people with real lives and real problems and real children (into) entertainment'3. Society's entertainment cannot be allowed to come at the expense of the privacy that protects families and children. 1 Sanneh, K. (2011, May 9). The Reality Principle. Retrieved July 4, 2011, from The New Yorker 2 Becker, A. (2003, March 1). Hot or Not: Reality TV can be harmful to women. Retrieved July 4, 2011, from Pyschology Today 3 Humphrys, J. (2004, August 28). Take this oath: First, do no harm. Retrieved July 4, 2011, from The Guardian: | |
The few reality TV programmes that are educational and beneficial do not balance the bad majority. The majority are not educational, either to the public or the participants, and the insight they purport to offer into the human psyche are misguided. As Vanessa Feltz, a contestant on the British Big Brother series, describes, contestants and viewers alike 'subscribe to this utterly specious notion that fame is entirely desirable' (BBC News, 2001), whilst Narinda Kaur, another contestant on the show, admitted "I came away from this experience thinking 'oh my God, did I really say that?" (BBC News, 2001). As Claudio Petruccioli, head of the Italian state broadcaster Rai, notes, 'reality TV shows put people into environments that are both unrealistic and coercive'1 Any lessons learned are therefore inapplicable to real-world situations. 1 Fraser, C. (2007, April 3). Italian TV bins reality shows. Retrieved July 4, 2011, from BBC News: | |
PSBs are a thing of the past. People no longer sit around the Television together. Commercial broadcasters provide more cultural freedom and choice for people. The idea of TV bringing a nation together no longer holds any merit in fragmented globalizing media markets where individualism dominates. TV is now more often than not a solitary experience rather than a communal one. This can be demonstrated by the amount of TV sets owned per household. A marketing report from Nielsen shows that in 1980 49% of US households had only 1 TV set and that 15% had three or more. Compare that with data from 2010 and only 17% of people in the US own only 1 TV set whereas 55% have 3 or more. [1] [1] Nielsen (2010) U.S. Homes Add Even More TV Sets in 2010. [Accessed 1st June 2011] Available at: | |
PSBs bring nations and people together and are an actively positive force within the mediasphere As well as airing programming for minorities which the private broadcasters would not provide, by providing and presenting content in a manner that resonates with the society in which they operate and by offering universal and affordable access to such content (see definition in the introduction) PSBs can also help bring people together and thus promote social cohesion. PSBs are able to put people and society first before financial and commercial interests. For example the BBC in its 2005 “Building Public Value” report states that it “aims to serve its audiences not just as consumers, but as members of a wider society, with programmes and services which, while seeking to inform, educate and entertain audiences, also serve wider public purposes”. [1] [1] BBC (2005) Building Public Value. [online] [Accessed 1st June 2011] Available at: | |
The same could be said equally about PSBs. They are unlikely to broadcast items which may damage their funding stream. In the case of networks using the underwriting model they are also unlikely to broadcast things which underwriters do not approve of. Due to the fragmented and competitive broadcasting market place there will always be a home for programming which challenges businesses and other entities if there is enough public interest in the given issue. | |
PSBs provide quality and original content that can cater for niche or commercially unattractive market segments PSBs create unique content which private broadcasters would be unable to produce as they strive for mass market appeal to satisfy the demands placed upon them by commercial interests looking to purchase advertising. PSBs create more educational and minority output which enriches society rather than just entertaining it. PSBs can concentrate on creating high quality programming across all genres rather than simply producing mediocre populist programming such as low-cost game shows and reality TV. For example it is unlikely that commercial broadcasters would have aired nightly university lectures as the BBC did with its partnership with the Open University. PSBs are usually among the highest investors in the domestic content industries and nurture local creative talent. |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.