Smoke gets in your eyes: re-reading gender in the "nostalgia film"

Upon its release, American Graffiti (George Lucas, 1973) was much admired by critics and audiences alike. Yet, in subsequent years, the film became known for its supposed “flattening of history,” and celebration of patriarchal values. This article demonstrates that such a judgement owes much to Fredric Jameson’s historically contingent work on postmodernism, which argues that American Graffiti constitutes the paradigmatic nostalgia film. In contrast, using close textual analysis, I demonstrate that American Graffiti provides a more complex construction of the past, and of gender, than has hitherto been acknowledged. Far from blindly idealising the early 1960s, the film interrogates the processes through which the period and its gender relations come to be idealised. This article has consequences not only for our understanding of Lucas’ seminal film, but also for the American New Wave, and the “nostalgia” text

Visual consumption, collective memory and the representation of war

Conceiving of the visual as a significant force in the production and dissemination of collective memory, we argue that a new genre of World War Two films has recently emerged that form part of a new discursive “regime of memory” about the war and those that fought and lived through it, constituting a commemoration as much about reflecting on the present as it is about remembering the past. First, we argue that these films seek to reaffirm a (particular conception of a) US national identity and military patriotism in the post–Cold War era by importing World War Two as the key meta‐narrative of America’s relationship to war in order to “correct” and help “erase” Vietnam’s more negative discursive rendering. Second, we argue that these films attempt to rewrite the history of World War Two by elevating and illuminating the role of the US at the expense of the Allies, further serving to reaffirm America’s position of political and military dominance in the current age, and third, that these films form part of a celebration of the generation that fought World War Two, which may accord them a position of nostalgic and sentimental greatness, as their collective spirit and notions of duty and service shine against the foil of what might frequently be seen as our own present moral ambivalence

Deep reinforcement learning approaches for process control

The conventional and optimization based controllers have been used in process industries for more than two decades. The application of such controllers on complex systems could be computationally demanding and may require estimation of hidden states. They also require constant tuning, development of a mathematical model (first principle or empirical), design of control law which are tedious. Moreover, they are not adaptive in nature. On the other hand, in the recent years, there has been significant progress in the fields of computer vision and natural language processing that followed the success of deep learning. Human level control has been attained in games and physical tasks by combining deep learning with reinforcement learning. They were also able to learn the complex go game which has states more than number of atoms in the universe. Self-Driving cars, machine translation, speech recognition etc started to gain advantage of these powerful models. The approach to all of them involved problem formulation as a learning problem. Inspired by these applications, in this work we have posed process control problem as a learning problem to build controllers to address the limitations existing in current controllers.Applied Science, Faculty ofChemical and Biological Engineering, Department ofGraduat

Embodiment in the war film : Paradise Now and The Hurt Locker

In this article I compare two recent films that foreground the body at risk in the new wars of the twenty-first century. Paradise Now (Abu-Assad, 2005) and The Hurt Locker (Bigelow, 2008) convey the subject of the body in war from what would seem to be opposing perspectives, the first representing the experience of a resistance fighter, a suicide bomber in present-day Palestine, and the latter rendering the perceptions of a US soldier, the leader of a bomb disposal squad in Iraq. Seeming opposites, antitheses of each other, the two protagonists and the two films can be set face to face in a way that brings the changing nature of modern war into frame. No longer defined by the ideology of total war that shaped the grand narratives of twentieth-century combat, the new imagery of war and resistance, of insurgency and counter-insurgency, is crystallized here in a new symbolic iteration of the body at risk.Publisher PDFPeer reviewe