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Another reason for the seemingly self-centered behavior is fear of embarrassment: what if I rush to help a person in need but I am promptly made a fool of by the criminal? Furthermore, many people assume that someone else will do something; we basically don't feel responsible in situations like these, just as George, Jerry, Elaine, and Kramer felt not the slightest inkling of social responsibility.
In fact, the entire sitcom is based on the fact that many people feel a complete lack of social responsibility: we are selfish, self-centered individuals. If helping someone isn't in our best interest, or if we won't get anything out of it personally, chances are we will stand back and watch. We are voyeuristic, insular, and eerily similar to George, Jerry, Elaine, and Kramer. The characters' arrest under the "Good Samaritan" law leads to a trail in which their moral characters are scrutinized in a court of law. The prosecution...
All four of them, in their own ways, placed their needs, desires, and egos before anyone else's.
If "Good Samartian" laws were to be instated in every American city, no doubt citizens would initially balk and complain. Yet gradually our values would come to reflect a higher sense of social responsibility. Whether that means pulling over on the side of the road to help a stranded motorist, or to phone in for the police in the midst of a robbery, each individual has the power to help someone in need. Simple actions could save lives. Creepy as many of the hyperbolic Seinfeld situations are, they mirror our own fears and our own faults. Seinfeld's social criticism can therefore teach us lessons on how our behavior might reasonably change to make our world a better place to live.
Most viewers are likely to feel that it is important for them to adopt defensive personalities in order to avoid being drawn in a group that seems to act in disagreement with society's values. While this is not necessarily bad, the sincerity in these films induces intense feelings in viewers, making individuals consider that the whole world is damaged and that all that one can do is to try and
Scorsese equates him with "a magician enchanted by his own magic." This freedom allowed Welles to create from narrative techniques and filmic devices a masterpiece that is self-aware of its own form. It intends to communicate this self-consciousness to the audience, thus contradicting the classical canons of filmmaking whereby the camera ought not to be noticed and the shots should be seamless. In other words, Welles expanded the art
SCIENCE FICTION & FEMINISM Sci-Fi & Feminism Origins & Evolution of Science Fiction As with most things including literature, science fiction has progressed and changed a lot over the years. Many works of science fiction were simply rough copies and following the altready-established patterns of prior authors. However, there has always been authors and creators that push the envelope and forge new questions and storylines that have not been realized or conceptualized before.
The 1990s also saw innovative interpretation of law enforcement's role in the perpetuation of organized crime. One of the most notable examples is L.A. Confidential (1997), in which corruption has reached so deep into the Los Angeles police department that two seemingly unrelated criminal investigations both lead to the police chief. The genre also proved its adaptability and continued appeal with Heat (1995) and Carlito's Way (1993); both films starred
He believed asylums should be planned to encourage work, both physical and mental. To get away from the stress and turmoil of the city, an asylum should be erected out in the country where there was space for patients "to work, walk, and congregate. He called for plenty of large windows, one central building, separate buildings for the genders, and separate wings for wards" (Haller & Larsen, 2005, p.