Video Games And Its Effect On Children - 1101 Words

Ever since the Columbine Massacre occurred, people seemed to concern themselves with the violent nature of video games. So many people argue that because video games played a part in the lives of the two teenagers who planned and executed the event, video games are to be blamed as their motive. Although video games have often glamorize graphic violence, people should not cast blame upon them for an increase in violent behavior in those who play them (especially teens) because those who make these accusations do so only to demonize what they do not and try not to understand. It is true that as technology has improved video games have become able to accurately detail more graphic content. Games such as Doom (which was released in 1993) caused much controversy for the detail they were capable of giving to the violence delivered in the game and graphic content in video games as a whole has only increased in the years since. Adults are completely justified in not wanting their children to be exposed to games such as these. However, blaming video games for the increase of violent behavior, especially school shootings, is ludicrous. Karen Sternheimer examines several claims made by opponents of video games in her article â€Å"Do Video Games Kill?† And finds their assertions lacking evidence. She states that no studies conducted have found that â€Å"media violence causes aggressive behavior† (217). She believes that it is far more likely that â€Å"more aggressive people seek out violentShow MoreRelatedThe Effects Of Video Games On Children Essay1279 Words   |  6 PagesIntroduction Video games have always been a controversial type of entertainment, that may come from how relatively new video games are compared to other mediums of entertainment[1]. Maybe because of that when a violent crime occurs and the culprit has played a lot of games the media is quick to point at violent games as the reason for the crime, but is that true or are the media just biased or looking for quick views, this report aims to answer that question. Do games affect our way of thinkingRead MoreEffects Of Video Games On Children Essay1357 Words   |  6 PagesScreening to a halt: Are parents in New Zealand able to identify signs of dependency or addiction in their children due to over use of screen-time from the recreational use of video games? Digital technology and the vast amount of video games have increased the amount of screen time consumption in contemporary New Zealand society. The saturation of smart phones, ipad’s, tablets, computers, game consoles and the Internet are devices with the means of connection to gaming. Many New Zealand families integrateRead MoreThe Effects of Video Games on Children1288 Words   |  6 PagesThe Effects of Video Games on Children Technology today has progressed rapidly from generation to generation. Children and young adults are both into video games and the latest gadgets out there. Video games have been available to customers for the last 30 years. They are a unique way to entertain individuals because they encourage players to become a part of the games script. Victor Strasburger an author of â€Å"Children, Adolescents, and the media† stated â€Å"The rising popularity of video games hasRead MoreThe Effects of Video and Video Games on Children2043 Words   |  8 Pagesaction, usually in a cartoon, movie, or video game. For many of us, Disney is where we refer back to early forms of animation with the idea of using thousands of consecutive drawings; through Disney, we can now see how far this idea of breathing life into static objects has advanced. Today, animation is becoming more and more realistic. With highly advanced technology and computer programs, it has become easier for simple cartoons to develop into what children see as real life. These animated cartoonsRead MoreThe Effects Of Video Games On Children1548 Words   |  7 PagesVideo Games Introduction Today video games are a staple in most households. It is pretty amazing to know that the first creation of games date all the way back to the 1900s. They were not originally invented to make a profit, but to give patients something to do while waiting in the lobby of an office. One inventor had a simple idea of using the monitor not just as a television set, but as a way to play games. College students were just playing around with equipment and happened upon something greatRead MoreVideo Games And Its Effects On Children927 Words   |  4 PagesVideo games are a more interesting form of entertainment for the simple reason that players may become part of the game’s plot. Video games were invented for many years now. However, the current variety of games raised concerns about how they affect the children s behavior due to the fact that the games are becoming more sophisticated. Children spend most of their free time playing video games. Sometimes children refrain from completi ng important duties and dedicate all of their time playing videoRead MoreVideo Games And Its Effects On Children940 Words   |  4 Pageswas bored they went outside to play, they created new games, or they played with friends. But, for the past three decades, video games and other digital media have been persuading many adolescents and children to spend the majority of their time playing them. Video games seem to satisfy children’s natural need to interact socially, however more often than not, they lead to social isolation. Overexposure to digital media, such as video games is detrimental to the health and function of a child’sRead MoreVideo Games And Its Effects On Children1519 Words   |  7 PagesVideo games in the 21st century have transformed from friendly competing into guns, explosions, and major violence. Video games are getting away with more violence every year and the games are becoming more extreme. The consistence and severity of violence is at an a ll-time high leading the most popular games in the gaming community to have a ‘mature’ rating due to the considerable amount of violence involved. For example, one of the highest selling video games of all time grossing one billion itsRead MoreThe Effects of Video Games on Children1656 Words   |  7 PagesIntroduction For more than 30 years, video gaming has been a popular activity amongst many of America’s children. With over $63 billion (Reuters, reuters.com) worth sold each year, video games are here to stay. While much controversy has arisen over the subject, video games have benefited the United States of America and its citizens to a great degree. For example, the military and CIA use gaming to train soldiers (Davidson, www.ehow.com), and classrooms use video games to teach students. The potentialRead MoreThe Effects Of Video Games On Children1034 Words   |  5 PagesThe world of today has developed in a way that even children are affected by technology. They enjoy video games in their leisure time and even prefer them to studying that, in its turn, can contribute to their poor performance in the class. These days, video games have become an issue that has brought concern to many people from parents to scholars about their potential effect on the future of children through influenci ng their conduct. They feel that the violent behavior or any other negative consequence

Guilt as Reparation for Sin in Nathaniel Hawthornes The...

Guilt as Reparation for Sin in The Scarlet Letter The Scarlet Letter is a novel about a Puritan woman who has committed adultery and must pay for her sin by wearing a scarlet amp;#8220;A; on her bosom. The woman, Hester Prynne, must struggle through everyday life with the guilt of her sin. The novel is also about the suffering that is endured by not admitting to oneamp;#8217;s wrongs. Reverend Mister Dimmesdale learns that secrecy only makes the guilt increase. Nathaniel Hawthorne is trying to display how guilt is the everlasting payment for sinful actions. The theme of guilt as reparation for sin in The Scarlet Letter is revealed through Nathaniel Hawthorneamp;#8217;s use of northeastern, colonial settings, various conflicts, and†¦show more content†¦Nathaniel Hawthorne (originally spelled amp;#8220;Hathorne;) was born to Elizabeth Clarke Manning Hathorne and Nathaniel Hathorne in Salem, Massachusetts on July 4, 1804. He was the second child and the only son of the Hathornesamp;#8217; three children. When Nathaniel was fou r, his father came down with yellow fever and died in Surinam, Dutch Guiana. After his fatheramp;#8217;s death, Mrs. Hathorne moved her family into her parentsamp;#8217; house in Salem (Shepherd iv). At the age of nine, Nathaniel Hathorne suffered an injury to his legs that kept him from attending school for about two years. This injury was a blessing in disguise. During his recovery, Nathaniel read many books and developed an appreciation for the English classics. Bunyanamp;#8217;s Pilgrim Progress and Spenseramp;#8217;s Faerie Queene seem to have been his favorite books because he had two cats named Beelzebub and Apollyon, characters from Bunyan (Martin 17). amp;#8220;Hawthorne later named his first child Una, after Spenseramp;#8217;s heroine; (Martin 17). nbsp;nbsp;nbsp;nbsp;nbsp;Hawthorne would spend the rest of his childhood in Raymond, Maine, hunting, fishing, and enjoying the outdoors. He returned to Salem for schooling and worked as a bookkeeper for his Uncleamp;#8217;s stagecoach line (Martin 17). He entered Bowdoin College in Brunswick, Maine in

Sophia Coppola’s Marie Antoinette and the Traces of History Free Essays

string(32) " demise of the French monarchy\." This paper probes in the historical events included in the Sophia Coppola’s Marie Antoinette. At the offset, the movie presented the events that have transpired in French history with fresh eyes. The result is both interesting and engaging. We will write a custom essay sample on Sophia Coppola’s Marie Antoinette and the Traces of History or any similar topic only for you Order Now It is interesting in the sense that the form (which is film) through which history was rendered provided entertainment to the viewers. At the same time, the movie is engaging as it was able to capture the historical events that, to me, challenged the viewers to analyze history deeper. In this paper, I will highlight the historical allusions in the movie that coincide in the last instance with the actual events that occurred in France more than two centuries ago. I will show that, among others, the film articulated the extravagant life of Marie Antoinette, the French Revolution, the â€Å"human† side of the queen, and the period of Enlightenment. The fifth element that I will focus on is what the film unwittingly revealed in its precise attempt to conceal – that is the fact that Marie Antoinette and King Louis XVI are not innocent victims.   I will argue that the tenuous conflation of film and history proved a success (and failure) in the case of Marie Antoinette. . Music as Social Critique Of all its features, â€Å"Marie Antoinette† was an interesting cinematic experience because of the music. It is through music that the film was able to convey a historical account of Marie Antoinette’s life. It is already commonplace that Marie Antoinette lived a life of luxury, and the film showed this from the beginning until the end. According to historical records, Marie Antoinette’s lifestyle was too extravagant that the general populace suffered (see Fraser 2001).   This affluence of French royalty was showcased in the film with the help of music. It was a joy to watch French royalty in their elaborate garb cavorting with their consorts and ladies-in-waiting to the sound of 80s post-punk. Perhaps to evoke the ironic joie de vivre of the 80s juxtaposed to the dionysian lifestyle (as opposed to hedonism) of the French king and queen and her court, they danced to an adaptation of Siouxsie and the Banshee’s â€Å"Hong Kong Garden† which was played by a string ensemble. The song then segued into the original post-punk version signifying a higher level of joy and abandon for everyone. In one scene, The Cure’s â€Å"Plainsong† was played during the couple’s coronation – an important and extensive shot taken on the steps of the Versailles. I’ve always thought that the music of The Cure was cinematic but the band evoked visions of modern dystopia for me- of highways, electric poles and sad abandoned factories; instead of men wearing wigs and tights and women with exposed bosoms under dainty parasols during the last gasps of European feudalism. The forlorn but quintessential New Order song, â€Å"Ceremony† is played in another party scene to create a contrast to the revelry of the French royal upperclass. Jarring as these may have been, these clever bits of musical scoring not only comprise the best thing about the film but also serve as its ideological heart. Of course, the average listener is not expected to recognize many of these songs. In fact, in most parts, what one hears are just instrumental excerpts from some obscure track of a particular musical genre from the 90s labeled as â€Å"shoegaze† music. While this cultural referencing from the early 90s in film is unusual (only Araki has done this to much success in â€Å"The Doom Generation† which was made during the early 90s), it is also apt since these attempts highlight all the more the cinematic traits of the dated but enduring genre. The contribution of Kevin Shields (who also did work for Lost in Translation) from the legendary shoegaze band My Bloody Valentine as well as the excellent selections from current Swedish band The Radio Dept. attest to the â€Å"hip† and â€Å"cred† consistency in Sofia Coppola’s work as well as indicating her appreciation for the lost musical genre. Remember that in her first critically acclaimed oeuvre, â€Å"The Virgin Suicides,† she also featured in the soundtrack the French duo with high â€Å"cred† points – Air. However, this time around, I believe that the clever use of contemporary music serves a purpose beyond achieving the â€Å"coolness factor† that the director is known for. It foregrounds an interesting but controversial take on a pivotal moment in the history of western society. History in/through Cinema Not only did the film powerfully show the frivolous existence of Marie Antoinette and the French Monarchy but also the manner by which this existence was put to an end by the French people. The French Revolution was only shown at the last scenes of the film yet it serves a potent reminder of how the oppressed classes of French society stood up and fought. If only for this, the film briefly yet powerfully captured the historical change that transpired during the French Revolution of 1793. It must be noted though that the death of Marie Antoinette and other French royalties indeed sparked hope, however brief a moment. I say this since the French monarchy was soon after replaced by the rule of the bourgeois (see Doyle 2001). This transition was no longer included in the film yet the fact remains that the vital force of the French Revolution served as a compelling conclusion in the life of Marie Antoinette. Marie Antoinette and the Louis-Auguste were the King and Queen of France at the onset of the historic French Revolution. This event marked the political culmination of the unprecedented social and economic changes that began with the Renaissance and the Enlightenment. It represented the victory of an emerging economic order whose political form was represented by the French Republicans. At the prodding of the bourgeois liberals who pushed for the republican ideals of the right to suffrage and democratic leadership, the peasants stormed the Bastille and later the royal palace of Versailles effectively heralding the demise of the French monarchy. You read "Sophia Coppola’s Marie Antoinette and the Traces of History" in category "Essay examples" The defeat of the royalists as manifested in the violent deaths of Queen Marie Antoinette and King Louis XVI by the guillotine and the subsequent rise of the French Republic meant new political and social arrangements that to some represent the defining shift from the â€Å"Dark Ages† to the Modern Era. One of this epoch’s key features is the ascendancy of the belief that, finally, man’s destiny is in its own hands and not under the control of some sovereign and God-ordained power as represented by the monarchy and the Roman Catholic Church. Simultaneous, therefore, with the film’s showing of the French Revolution is the showing of the period of Enlightenment.   This includes the understanding that societies are wholly human artifacts subject to the collective will and power of the people that ideologically challenged the class structure of not only the monarchy and its feudal base but also early capitalism and its liberal pretensions. Many therefore, including Marie Antoinette, interpret the French revolution as a progressive step away from the extreme inequities of feudal society and monarchical political formations and some quarters even regard it as an event that points to the possibility of egalitarian human societies (see also Lancaster 1953). Marie Antoinette and Modernity However, the film â€Å"Marie Antoinette† takes on a different stance regarding modernity. For Coppola and Antonia Fraser, whose book the film was based on, to depict the relatively unknown but human story of the Princess of Vienna who became Queen of France from the other side of â€Å"his-tory† so-to-speak, is in itself an important statement. More so because Marie Antoinette is mistakenly vilified in history texts as the callous Queen who, in the midst of France’s bread shortage and general economic crisis, allegedly quipped â€Å"let them eat cake† in all her regal pomposity (see Thomas 1999). Coppola shows to us instead a sympathetic and unknown side to the lives of these pampered royalties. The film takes great pains to show the struggle of Marie Antoinette and the King as they fit in to the unreasonable demands of being royalties as well as the privileges that they enjoyed. We are made to understand their humanity as they recapture their innocence in the Dionysian abandon of royal masquerades, deal with deaths in the family, and even suffer the distinct boredom of the rich and spoiled. Some historians have also tried to present us this â€Å"human† side of Marie Antoinette and the French Monarchy. According to their studies, Marie Antoinette is not as evil as popularly presupposed (see Fraser 2001). Apparently, this is the same point the movie is trying to make. That is why when the mob arrived at the palace gates, we are immediately herded by the film to the side of royalty since it is they who we are more familiar with; it is they who we found funny and endearing. Never mind that it is the moment of justice for the angry multitude as they vent out their anger after centuries of carrying the feudal yoke in order to provide the monarchs with the resources for their grand lifestyle and capricious wars. Never mind that it is modernity and human progress that is, in a manner of speaking, knocking on the gates of Versailles and that this singular event would inspire movements of liberation throughout the world including our country’s own struggle against colonizers. Coppola deftly avoids all these issues by framing this historical narrative through Marie Antoinette’s eyes. What is presented to us instead is the consistent template in film of how individuals, in the general sense, are victimized by history’s unsentimental march. It subtly laments Maria Antoinette and Louis XVI’s persecution since they were merely thrown into circumstances they did not choose. The reach of the royal imagination, the film seemingly apologizes, cannot go beyond the intricate pastries, the petticoats and the other regal accoutrements of their regal existence. Thus, when the mob, who was comprised of the first liberals in their original incarnation, demanded the King and Queen’s literal heads, a degree of sadness was warranted. There was no indignation expressed in the film akin to the moral appeal of the liberal critique against Stalin (â€Å"the revolution will devour its own children,† and it seems that the liberals also had an appetite for pale monarchs), but through a somewhat Nietzschean lamentation for the lost of dionysian beauty and innocence. This was expressed in the film in a lingering shot of a defiled royal salon after the mob stormed the palace. The room was once full of vibrant life, colors, opulence and laughter. Now, it was a drab grey room of broken furniture and torn curtains perhaps anticipating the abandoned factories of Manchester. Was Coppola intimating the view that history’s march towards modernity must be interpreted in this way? Does she share the same dystopic vision of modern society as those espoused by this band of angsty and socially dysfunctional philosophers in the persons of Nietzsche, Heidegger, and Foucault whose disdain for modernity is legendary and influential to this day? The Element of Ahistoricity in Marie Antoinette By focusing therefore with the intricacies in the life of Marie Antoinette and Louis XVI, the film was able make the audience sympathize with them. The possible danger here is the dilution of the revolution which culminated in the reign of Maria Antoinette and Louis XVI. Some studies have also pointed out the quirks of the royal couple without dismissing the crime that they have committed (see Cronin 1989). The use of contemporary cultural references for an otherwise period setting is therefore an important element in the light of these observations. The film achieves an ahistorical sheen as if insisting that its lessons are timeless if not enduring to this day. It seems to argue an interesting point – that the fate of Maria Antoinette and Louis XVI, who also danced to Siouxsie and the Banshee’s â€Å"Hong Kong Garden† – they in an elaborate ball and we in our dingy night clubs – are also our shared destinies. We are, in a manner of speaking, modernity’s common victims. If the two were hanged by a vengeful mob at the cusp of modernity, we are its sad disenfranchised heirs existing in the rubble of modernity as a failed experiment two centuries hence. This is the shared stance of thinkers such as Nietzsche, Heidegger and Foucault. Modern life is synonymous to mediocrity, alienation (or inauthenticity) and debilitating bio-power (that society is one big prison and there is no escape). Our only refuge is towards individualism, introspection, and caring for the self. What better way to drive home this point through music than to employ the sensibility of post-punk’s true heirs – shoegaze. There are some interesting parallelisms between developments in social theory and popular culture. There was an attempt by the counter-cultural folk movement of the 60s in translating its agenda into a potent political force. However, the failure of the Paris Commune coincided with the cooptation of folk into â€Å"hippie†-dom and later corporate arena rock. In the academe, a post-political (or post-socialist condition) also assumed an influential position wherein the likes of Nietzsche, Heidegger and Foucault became the gurus of a veiled individualism that places in its diametrical opposite society and history. Punk presented a brief respite attracting a wide section of Britain’s disaffected and unemployed youth under Thatcherism but eventually folded because of its nihilism and absence of class politics. This resignation is now embodied in the broad post-punk category that includes a variety of styles – self-referential and heavily sentimental at times while being angular and loud in others. Most of these bands eschewed the political and even anarchic stance of punk and insisted on appropriating an introspective tone while salvaging the innocent harmonies of The Beach Boys and the pop songcraft of the Beatles from the 60s. Of course, in the larger context, mass culture was the more dominant cultural form where artists such as Madonna and Michael Jackson represented the new apex in consumerist popular culture. In the sub-cultural field, however, the post-punk ethos was eventually adapted by a new musical movement that melded together the dark undertones of cult bands such as Joy Division and The Cure with the ethereal pop sound of The Cocteau Twins and the drone of The Velvet Underground in the late 80s to early 90s. The result is a musical movement that has come be labeled as shoegaze because of the penchant of these genre’s guitar players to look down on their effects boxes to create their complex and dense signature guitar sound. Meanwhile, in the academe, the same sensibilities are also gaining ground with the fashionable rise of postmodernism and its celebration of eclecticism, ahistoricity, identity politics and a deep and unrelenting individualism. It is, thus, no accident that these post-punk and the shoegaze movements found its most rabid supporters among the college set. By the 90s, the cult status of these sub-genres has imploded into the mainstream with the rise of the â€Å"alternative† and Nirvana. With its wall of feedback, unintelligible vocals and sweeping melancholia, shoegaze’s sound performs the sad and confused resignation of the post-political era. Marie Antoinette now follows a long line of fashionably sad cultural icons that include Kurt Cobain and the wind-swept plastic bag in â€Å"American Beauty.† These films make a claim for sadness as the universal currency of modernity whether you be of royal lineage or a working class clone (or even an inanimate object) and our only balm or remedy is to wallow in Kevin Shield’s eloquent but loud and beautiful sound of sadness as we mourn the death of all-too-human Marie Antoinette – our new postmodern pop icon. But of course we know better. Therefore, what the film tried to do was paint Marie Antoinette as a victim of history. What strikes us as suspicious is our knowledge that she had the choice to change the social system. What prevented them for doing so was perhaps their passionate attachment to what the French people are asking them to give up. It was of course tremendously difficult for Marie Antoinette to give up her lifestyle that rests on the wretchedness of the general populace since it was perhaps what she has been used to all her life. This is precisely the problem with the ideological stakes raised by the film and the philosophical persuasions that side with such a dystopic reading of humanity’s past, present and future. For that matter, these also draw attention to the utter lack of radical promise among the educated American youth because an assessment of even indie culture indicates that they are either too emo, fragmented and individualist to wield any form of potent politics unlike their French forbearers who were willing to destroy the monarchy in order to build liberal democracy. Modernity continues to be a necessary human project in the light of the continuing inequalities of our modern life. Men and women must not relent in the political task of charting the direction of human history, the sadness and violence of the struggle notwithstanding. Works Cited: Cronin, Vincent, Louis and Antoinette. London: The Harvill Press, 1989. Doyle, William The Oxford history of the French Revolution. Oxford: Oxford University Press, 1989. Fraser, Lady Antonia. Marie Antoinette, The Journey. New York: Anchor, 2006. Lancaster, Carrington. French Tragedy in the Reign of Louis XVI: And the Early Years of the French Revolution, 1774-1792. Baltimore, MD: Johns Hopkins Press, 1953. Thomas, Chantal. The Wicked Queen: The Origins of the Myth of Marie-Antoinette. trans. by Julie Rose. London: Zone Books, 2001. How to cite Sophia Coppola’s Marie Antoinette and the Traces of History, Essay examples

International Law Alleged Apartment

Question: Discuss about the International Law for Alleged Apartment. Answer: Facts and Proceeding: Ms. Smith Ms. Smith is a senior who has lived in her apartment for the past 30 years. Her lease also includes a locker and a parking spot. Once a pipe burst in her apartment which cause flood in her apartment later on the manager has shifted the Materials and the luggages of Ms Smith to the another locker. He has not informed her about the stealing activities which has happened earlier. As the time passes the luggage and materials of Ms. Smith is got stolen from the locker. As after some months the Insurance Company has provided the compensation money to Ms. Smith for the stolen goods but she estimated that there are missing materials worth $ 30,000. In this case Ms Smith is considering claiming about the stolen Goods so that she can get the estimated amount of money. As per the law Ms. Smith can claim against the theft of the goods from the locker. As this is under the constitution law as per the Canadian constitution and this provides her legal right for the claiming compensation against any kind of theft. If the case goes into trial there might be chances that the court may make a observing committee who will look into the case. As per the law everyone has right to protect and claim of any loss which are under the legal terms. Court after hearing the claim may charge the police to investigate and make assured arrangement for the safety of the properties and catch the thieves. In a latest case a thief has been arrested by the Toronto police who is charged for 56 locker theft cases, in which most of them occurred in residential apartments. One more situation which may arise is the suing the Manager of the Apartment who has not taken enough security measures for the security of the locker room (Constitutional act, 1982) . Ms Smith can file a case on the apartment manager for the miss management and negligence in the security of the good stored in the locker. Every person has right to secure his own property as per the Canadian Civil right. Property is anything that can be owned by a person such as materials and Goods as well. The property damage and thefts carries penalties such as imprisonment or fines and in some cases its both fine and imprisonment. The court generally measures the charges for these acts. As per my view Ms Smith is applicable to claim against the stolen Goods and Court might give a verdict in her favors. Fact and Proceedings: In August, 2015, Jerry Garcia opened, Jolly, Jolly, a video store in Toronto, Ontario. The shop sells and rents hard core" videotapes and magazines as well as sexual paraphernalia. In early September, 2015, Toronto Police entered Jolly Jolly with a search warrant and seized all the inventory. Mr. Garcia was charged with three counts of selling obscene material contrary to s. 163(2)(a) of the Criminal Code, R.S.C. 1970, c. C-34, 41 counts of possessing obscene material for the purpose of distribution contrary to s. 163(1)(a) of the Criminal Code , 128 counts of possessing obscene material for the purpose of sale contrary to s. 163(2) (a) of the Criminal Code and one count of exposing obscene material to public view contrary to s. 163(2) (a) of the Criminal Code . Law: The criminal code did not provide a definition of any of the operative terms, Obscene, Indecent, or disgusting. As stated by Charon, the focus on the Corruption of morals was grew up from the English obscenity law which has made the courts as the Guardian of the public law. There are different form of pornography which are considered as Obscene. The subject matter in this case is clearly physical, the films, magazines, written matters which were sexual in nature.. As we know there is nothing bad in vehicle of expression and it also does not fall outside the protected activities by the law. As per the s. 163, it violets the s. 2(b)n of the charter. In he case of Garcia and Jolly Jolly video Gallery. As per the reference of the re: ss.193 and 195.1(1)(c)of criminal code (1990), 56 C.C.C (3d) 66, (1990) S.C.R 1123, 77 C.R. (3d) 1 the prostitution Reference that activities which were observed in the case of Garcia and Jolly Jolly Video Gallery cannot be excluded from the Scope of Guaran teed autonomy on the basis of content and meaning being conveyed. (Martin, 1994) As a judge of the court recognize that the harm which can be caused by the proliferation of the materials which can seriously offend the fundamental values of the society. These materials which is considered as the offended material for the values of the societies moral values. This is considered as a substantial concern for the society and law and it justifies the restricting the otherwise full exercise of the freedom of expression (Adam, 1994). In my view the harm which could happen in the society by the access of the films, magazines and written adult materials can be avoided by proper restriction over these explicit materials. According the view of Anderson, these adult materials generally portrays women as an object of exploitation and submissive which have a negative impact over the society. As a Judge of the Court I conclude that legislation proscribing obscenity is a valid objective which justifies the full expression of freedom, things and materials which can cause harm to t he society as well as to the women and childrens whether from the Films and Magazines should be restricted. Reference: Man facing 56 charges for alleged apartment storage locker thefts; From https://www.cbc.ca/news/canada/toronto/man-facing-56-charges-for-alleged-apartment-storage-locker-thefts-1.3092634 Martin Adam, 1994, A Sourcebook of Canadian Media Law, Pg- 514-530 Constitution Act, 1982 https://laws-lois.justice.gc.ca/eng/const/page-15.html Waters, .C, 2006, British and Canadian Perspectives on International Law, pg- 90