ItalianAmerican Traditions in film

Traditional occupational ethics of Italian-American in movies The story of the Bronx is the father's story, he tried to regain his son's love and was proud of the gorgeous neighbor's thugs boss. In my opinion, this movie is the best depiction of occupational ethics. Lorenzo played by Robert De Niro plays his father, and his attempt to teach his son's discipline and diligence is worth seeing in the long run. His son, Calogero, was played by Lillo Brancato, exposed to the life of the assassin Boss Sonny played by Chazz Palmenteri, and did not understand why he could live a luxury life.

In the past 30 years, Disney movies have promoted anti-traditional positions. Heroes and heroines completely reject tradition and authority and explore their own way. I am not saying that tradition is good by default or should not be questioned, but life is not black and white. George Lucas knows this, that is why the original six Star Wars movies are full of imperfect politics of difficult times through Anakin and Luke's journey and their friends' fight Ideology is all Through the character, it makes it possible for the old doctrine to disappear and change, and adapt between great war and peace. This is the architecture of the world

Actually, these two activities overlap, but the philosophical and philosophical problems of film consideration through movies can be distinguished from more traditional movie philosophy. Both are subfields in the field of philosophical aesthetics. The philosophy of the film has traditionally focused on the introspective study of the nature of the movie, and it is important to clarify what the movie is, art is it, how it differs from other arts I aim for it. This is the philosophy of the movie. Conversely, the concept of movies as resources, means, or media is used to uncover and explore philosophical thinking and problems. This is the philosophy of the movie. Historically, movie philosophy is more innovative than movie philosophy, and movie philosophy has made significant progress in the 1980s.

Philosophers working in continental traditions claim a more comprehensive explanation of the contribution of the film to philosophy. In fact, the introduction of the term "movie philosophy" means philosophy of so-called new forms in movies. It is clear that the philosophical significance of the movie has been recognized by philosophers regardless of the position of the possibility of "movie philosophy". Even those who deny that a movie is actually a philosophical one must admit that the movie offers the audience an opportunity to get philosophical questions and problems. Indeed, the success of the book entitled "Philosophy and X" shows that movies and television programs can be replaced with X, indicating that this film attracts a broad audience's attention. There is no doubt that this is a sound development of the philosophy itself.