The film “The Lives of Others” can be approached by two ethical frameworks. The ethical frameworks that can be examined to understand these situations more thoroughly are the theories of utilitarianism and egoism. To lay the ground base, utilitarianism is an ethical theory that states than an individual should do not what is best for himself, but rather for the greater of the group. In the movie, a Stasi agent employs a utilitarian position in how his work life unfolds. On the other hand, egoism is an ethical theory that states that an individual will act only on their own self-interest. Georg Dreymann’s lover, Christa Maria, employs an egoist approach to how she maintains her job as an actress with the German Democratic Republic.
Stasi agent, Gerd Wiesler, was …show more content…
He knew that writers and composers in East Germany rarely compose when they are released from prison because, quite frankly, they have no hope left. The scene in which Wiesler completely changed his position was one where Dreymann played a piece of music on the piano that was dedicated to him by another composer. This composer had recently committed suicide because he was blacklisted by the Stasi and couldn’t perform. Dreymann says, after playing this piece, “Can anyone who hears this music really be a bad person?”. The music and the story behind why Dreymann played it actually makes Wiesler cry. In the end, Wiesler compromised his job with the Stasi by hiding evidence about Georg Dreymann. The way he conducted himself completely changed in the opposite direction after a few weeks monitoring the surveillance of Dreymann’s home. Wiesler knew the consequences of his actions and that they would lead to him losing his job, but he still went through with it. This displays a large amount of utilitarianism on his behalf. He put, not only Dreymann, but all of his audience before himself. The audience in this aspect would be all the people who agree with his article
Stasi agent, Gerd Wiesler, was …show more content…
He knew that writers and composers in East Germany rarely compose when they are released from prison because, quite frankly, they have no hope left. The scene in which Wiesler completely changed his position was one where Dreymann played a piece of music on the piano that was dedicated to him by another composer. This composer had recently committed suicide because he was blacklisted by the Stasi and couldn’t perform. Dreymann says, after playing this piece, “Can anyone who hears this music really be a bad person?”. The music and the story behind why Dreymann played it actually makes Wiesler cry. In the end, Wiesler compromised his job with the Stasi by hiding evidence about Georg Dreymann. The way he conducted himself completely changed in the opposite direction after a few weeks monitoring the surveillance of Dreymann’s home. Wiesler knew the consequences of his actions and that they would lead to him losing his job, but he still went through with it. This displays a large amount of utilitarianism on his behalf. He put, not only Dreymann, but all of his audience before himself. The audience in this aspect would be all the people who agree with his article