Hugo and Paprika perfectly illustrate the delicate tension of nostalgic remediation, which shifts between transcending cellu-loid cinema and longing for its return between the recovery and loss of cinema's historical memory and between the concepts of old and new media themselves.Īnita Desai's Baumgartner's Bombay (1988) and Caryl Phillips' The Nature of Blood (1997) are novels that feature Jewish protagonists both represent the history of the Holocaust and diverge from the postcolonial landscapes the authors are associated with. These ambivalences, it is argued, reflect the broader anxieties and aspirations that arise in times of technological and social transition, such as the changes brought about by the digitization of media at the turn of the twenty-first century.

Rather than seeing nostalgia as ironic, ahistorical pastiche, as in Fredric Jameson's description of postmodern nostalgia films, this article asks: how can we understand nostalgia as part of our own lived, affective experience of film within today's new media ecology? To answer this question, it draws on theories of post-celluloid adaptation and remediation to demonstrate the ambivalent relationships between historical and current media platforms seen in digital cinema. As you follow the illustrations, chunks of which are interspersed with the text, your eye follows the pictures like a camera panning across a movie set and the story unfolds, both visually and texturally.This article addresses the ways in which two recent works of digital cinema, Martin Scorsese's Hugo (2011) and Satoshi Kon's Paprika (2006) revive classical (photochemical) cinema through what is termed 'nostalgic remediation'. The nature of the illustrations suit the subject of the book perfectly, which ultimately is the lifework of the French filmaker, Georges Melies, who made the first ever science fiction film, A Trip to the Moon, which you can watch on Brian Selznick's website. Over half the pages are full-page, double spread illustrations, some of which go on for eight or more pages at a time. Selznick, who also won a Caldecott Honor Award for illustrating the non-fiction picture book, The Dinosaurs of Waterhouse Hawkins, won this award because this is, in a sense, truly a picture book at heart.

It is the fist chapterbook to ever win the Caldecott Medal which recognizes children's picture books for achievements in illustration.

Brian Selznick's The Invention of Hugo Cabret is a groundbreaking children's book for so many reasons.

The invention of hugo cabret series