Those transformations have led some to hypothesize that we are witnessing something of a paradigm shift, from a human to a posthuman world. On this reading, Hugo is an extended meditation on the technological forces that are transforming not only cinema but human beings. Rather than situating Hugo in film’s past as an argument for our cinematic heritage in an age of digital streaming, Hugo can be read as an argument for a future, posthuman vision in which human beings live technologically-mediated lives. In this essay, though, I will suggest another, more forward-looking view, focusing largely on the conceptual and narrative ground both book and film explore. This backward-looking reading of Hugo is certainly not wrong and both book and film are deserving of analysis in terms of questions of form. Furthermore, Selznick’s book, a graphic novel that literally incorporates in its pages cinema’s past in the form of still images, and Scorsese’s film, evoking cinematic history while employing possibly its technological future, are both meditations on the nature and changing forms of literary and cinematic media. Selznick, and The Invention of Hugo Cabret nostalgically evokes the glory days of cinema’s past. Selznick himself comes from classic cinema royalty, being related to Hollywood producer David O. Such a reading is underscored by Hugo’s source material, Brian Selznick’s children’s picture book, The Invention of Hugo Cabret (2007). Scorsese is founder and chair of The Film Foundation, dedicated to protecting and preserving motion picture history, and Hugo itself can be read as an argument for film preservation, with its loving recreation of the cinematic workshop and output of Georges Méliès and its interpolation of numerous scenes from classic cinema. Upon further reflection, such puzzles might be resolved by recognizing Scorsese’s long-standing interest in film preservation. A big-budget, family-friendly, 3-D film featuring heavy use of computer-generated imagery, hardly seems like the kind of fare expected from an auteur whose oeuvre, including Taxi Driver, Raging Bull, Goodfellas, and Casino, skews more gritty, realistic, masculine, and violent. On initial viewing, Martin Scorsese’s 2011 film Hugo is likely to leave viewers puzzled. Publication Dateġ3 September 2021 Identifiers DOI 10.× Current About Archive Submit Editorial Board Salisbury University Hugo and the Automaton 1 Dennis M. The two volumes comprise a total of thirty-nine chapters, with extensive references and individual tables of contents for each one, as well as a detailed subject index. The second part presents a series of further applications of automata theory such as message-passing systems, symbolic methods, synthesis, timed automata, verification of higher-order programs, analysis of probabilistic processes, natural language processing, formal verification of programs and quantum computing. The first part is dedicated to applications of automata in mathematics: group theory, number theory, symbolic dynamics, logic, and real functions. Algebraic and topological aspects of automata theory are covered in the third part. Complexity aspects are discussed in the second part. The first part presents various types of automata: automata on words, on infinite words, on finite and infinite trees, weighted and maxplus automata, transducers, and two-dimensional models. The Handbook of Automata Theory gives a comprehensive overview of current research in automata theory, and is aimed at a broad readership of researchers and graduate students in mathematics and computer science. In its core it deals with abstract models of systems whose behaviour is based on transitions between states, and it develops methods for the description, classification, analysis, and design of such systems. A subscription is required to access this book.Īutomata theory is a subject of study at the crossroads of mathematics, theoretical computer science, and applications.
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