Finding Dory Movie Poster - What is the reason why Finding Dory won the Oscar?

Mathematical stars shine

Austrian writer Stefan Zweig wrote a famous biography "When the stars of mankind shine" (there are several Chinese translations), there is a similar theme of popular math books in China, that is, Zhejiang University, Professor Cai Tianxin's "unreachable characters: the stars of the mathematical sky shines" (published in 2009, reprinted and renamed as "Legends of Mathematics"). (published in 2009, later reprinted and renamed as Legends of Mathematics). Shining stars seems to be an apt description of many of the great figures of the past, and perhaps even more so of the great mathematicians of the past - mathematicians, it is said, never die, they just go to heaven. There was a wonderful movie last year that reflected a similar theme: "Finding Dory".

"Finding Neverland" movie poster

As they say in "Finding Neverland":

So great musicians never die because their music is always sung, and likewise great mathematicians never die because their mathematics is always performed.

The lives of Wong Ka Kui and Cheung Kwok Wing continue through "Glory Days" and "Sinister Spirit", and Jin Yong's martial arts novels will always have readers; Atiyah is remembered because his (and Singer's) index theorem has been used again and again, just as we still bring up the 18th-century mathematician Euler (Euler) from time to time today. I am sure that years from now, "there will still be whispers in the world, following their legend".

In essence, they - whether musicians, actors, writers or mathematicians - are all one kind of person: artists. Artists are immortal because they have immortal works of art. As Cao Pi put it in his "Essays on the Canon": "Essays are the great work of a nation and the most important event of immortality." This is true for essays, as well as for music and math.

The difference, of course, is that because appreciating math (and, essentially, understanding it) often requires much more effort, very few people recognize that, like music and writing, math is an art.

There is perhaps no better shortcut to truly understanding this than to listen to what the great mathematicians themselves have to say. We've shared the stories of some of these great mathematicians in our "Contemporary Mathematicians in Pictures" collection, and today we're adding the stories of three more:

Sir Michael Atiyah

Sir Michael Francis Atiyah

Algebraic Topology, Algebraic Geometry

Fields, Abel. Abel Prize

Former Dean of Trinity College, Cambridge, first Director of the Newton Institute, Cambridge, Honorary Professor of Mathematics at the University of Edinburgh

Many twentieth-century scientists have had a complex background of emigration, forced to emigrate to other countries because of persecution by the Nazis in Germany. This enforced cosmopolitanism may have broadened the horizons of these immigrant scientists and facilitated their subsequent careers. Although I am not a Hitler refugee, I spent my childhood bouncing between Europe and the Middle East. My mother was Scottish, my father Lebanese, and we lived in Khartoum. I went to high school in Egypt until I was 16. My grandmother lived in Lebanon.

We moved to England in 1945, and after I finished my studies at Cambridge, we spent a lot of time in the United States. I find it difficult to answer the question: Where are you from? Similarly, I find it equally difficult to answer the question when asked what kind of mathematician you are. I usually answer this question by simply saying that I am a geometer in the broadest sense of the word, as if I had found solace in the famous saying that "God is a geometer". For me, it was as if there was only one world, although I was more familiar with some parts of it than others, so that there was only one mathematics. I don't like political or cultural divisions, and I find that ignoring them is an important stimulus to creative thinking. Ideas should flow unimpeded in their natural course.

My mathematical trajectory began with algebraic geometry, then slowly and naturally shifted to topological and differential geometry, then analysis, and finally to theoretical physics. Each of these stages was a wonderful process, and I developed close friendships with many collaborators who broadened my horizons. Fritz Hirzebruch in Bonn was my first colleague and mentor, and his annual mathematics conferences became a meeting place for my generation. In Paris and Princeton, Jean-Pierre Serre educated me through the clarity and beauty of his thoughts and lectures.

At Princeton, Harvard, and MIT, I developed a close working relationship with Raoul Bott and IsSinger, who taught me Lie groups and generalized function analysis. Back in Oxford, under the guidance of my old friend Roger Penrose, I took my first tentative steps towards modern physics. This modest foray, stimulated and guided by Edward Witten, became mainstream. In the years that followed, I was fortunate to attract many bright graduate students, some of whom eventually became my colleagues and collaborators. I learned a great deal from them, and at the same time realized how mathematical tastes and skills reflect a person's character. Diversity of styles and perspectives is welcome, and creativity blooms best with the least guidance and the most freedom and encouragement.

Mathematicians are often thought of as intellectual machines whose brains process numbers and output theorems. In fact, as Hermann Weyl put it, we are more like creative artists. Although we are strongly bound by logic and physical experience, we use our imagination to leap dramatically into the unknown. The development of mathematics over thousands of years has been a great civilizational achievement. Some mathematicians, most notably G.H. Hardy, glorified the "purity" of mathematics and scorned anything with practical application. I take the opposite view, and I am very happy if anything I do turns out to have practical value. More generally, I think that math should contribute to science and society, and that math is one of the main parts of education and learning.

Because of these views, I have always felt a responsibility to take on certain general roles, such as President of the Royal Society, President of Trinity College, Cambridge, and President of Pugwash [Pugwash is an organization of influential scholars and public figures concerned with reducing the risk of armed conflict and seeking cooperative solutions to global problems]. President of the The future of mathematicians and the privilege of spontaneous research ultimately depends on society. In return, therefore, we must repay this debt in ways that will induce our fellow citizens to adopt a friendly and tolerant attitude toward this peculiar profession.

Felix E. Browder

Felix E. Browder

Panofunctional analysis, partial differential equations

Professor of Mathematics and former Vice Chancellor of Rutgers University; Max Mason Distinguished Service Professor of Mathematics Emeritus at the University of Chicago

I was born in Moscow, Russia, in July 1927, and brought to the United States at the age of five. I was brought to the United States at the age of five. My father, Earl Browder, was the expelled head of a political party in the United States. He didn't even finish elementary school. My grandfather was an unemployed elementary school teacher who taught his children at home, whereas my father was essentially self-taught. My father was against World War I. He was a social leader in the anti-war movement in Kansas City, Missouri. He was imprisoned from 1917-1920 for his opposition to the war. During his lifetime, he amassed a library of more than 10,000 books.

My mother was initially interested in astronomy, but earned a law degree from St. Petersburg University. This was very difficult before the Russian Revolution because she was Jewish and Kharkov was the only city where she could practice law. She became secretary to the mayor, who, unlike her, was not a member of the *** party. My parents met in Moscow in 1926, when my father was visiting the Lenin School, a school for party leaders. At that time he was working for the Kremlin in the "Red Trade Union International", an international organization of trade unions. He was one of the American representatives of the International.

My two brothers Andrew and Willliam and I were mathematicians. And my brother William and I are the only brother members of the National Academy of Sciences. Both of us have also served as presidents of the American Mathematical Society. For eleven years, 1970-1980, I was the chair of the mathematics department at the University of Chicago. In the intervening period, William and Andrew were chairmen of the mathematics departments at Princeton and Brown, respectively. I'm not sure why we were both attracted to math.

I graduated from Yonkers High School in 1944 and went to MIT for math, graduating as an undergraduate in 1946. I was one of the first five winners of the Putnam Competition, the nation's undergraduate math competition, and in 1946 I entered Princeton University, where I received my Ph.D. in 1948 at the age of 20 with a dissertation on nonlinear generalized functional analysis and its applications. This field, along with partial differential equations, has been my main interest for the next sixty years, especially nonlinear monotone operators from a Banachspace to its dual space.

From 1948-1951, I was one of the first two Moore Instructors at MIT. During the difficult period of no math appointments, which lasted until 1955, I had only lecturer positions, and although recommended by the math department, I was turned down by MIT for any permanent or long-term position. 1953, I was awarded a Guggenheim Fellowship. In 1953, I was awarded a Guggenheim Fellowship, and at the same time, I was selected for assignment to the U.S. Army. In the army, I was classified as dangerous and eventually tested for it, which finally cleared my name. 1955, I left the military and became an assistant professor at Brandeis University. 1956, I went to Yale University, where I went through all the academic steps to become a professor. 1963, I went to the University of Chicago, where I stayed for 23 years. 1986, I retired from the University of Chicago, where I had been a member of the University's faculty. In 1986, I retired from the University of Chicago to become Vice Chancellor of Rutgers University, and in 1999, I was awarded the National Medal of Science in Mathematics and Computer Science.

You may be wondering why I'm sitting in a room that looks empty. It's because we're planning to move into this new house. One of the reasons we want to move is that I need more space to store my 35,000 books. This library has a collection of books on many different subjects, from math, physics, and science, to philosophy, literature, and history, as well as books on modern political science and economics. It was a vast library. I am interested in everything, and my library reflects all my interests. Making a career out of mathematics has been a singularity in my life. It's very rare for me to know a mathematician who is interested in everything, with the recent exception of Gian-Carlo Rota.

Harold Kuhn

Harold William Kuhn

Game theory, mathematical economics

Retired Professor of Mathematical Economics, Emeritus, Princeton University

The older I get, the more I am convinced that our lives are governed by chance and by the influence of others. My own life affirms this thesis. I will talk about my life history.

My math career would have begun with my electrical teacher, Mr. Brockway of Forsyth Junior High School in South Central Los Angeles. He taught me the wonders of logarithms when I was eleven and asked me to solve problems - setting up (single and double pole) switches to control lighting in a complex way. These "puzzles" were essentially the kind of combinatorial problems that have played a central role in all my research. Mr. Brockway, who also moonlighted as a supplier of high-fidelity, long-duration sound equipment to Hollywood studios, gave me the ambition to become a radio engineer.

At Manual Arts High School, we benefited from the fact that teaching was a stable job in the Great Depression; so our high school teachers had doctorates in chemistry or physics. And, it was my physics teacher, Mr. Paden, who took me to the Caltech science and technology exhibit and planted the seed that I would one day go to Caltech to become an electrical engineer. I was guaranteed a place at UCLA, which accepted any high school student in California with a grade point average of ~B~ or higher. But there was one drawback to UCLA: as a government-allocated university, it required students to participate in reserve army training, which I really hated.

So in the fall of 1942 I was one of 160 freshmen at Caltech, and the only one not living on campus. The reason was simple: my parents were too poor to pay for my room and board at Caltech, so they moved to Pasadena and rented a $25-a-month house near campus. My father suffered a serious heart attack in 1939, and the family's annual income was about $1,200 from a disability insurance policy. Neither of my parents went beyond the fifth grade, so my academic ambitions seemed like a miracle to them. In the middle of my junior year at Caltech, when I was drafted into the Army in July 1944, I switched from being an electrical engineer to a double major in math and physics.

After completing basic training in the infantry, I qualified for the Army's Professional Training Program in Japan and was sent to Yale University. E.T. Bell, who had taught several of my classes, introduced me to Oystein Ore, who allowed me to attend his abstract algebra class for graduate students. At the same time, a friend of mine from Caltech who had enlisted with me, Earnie Rauch, had been discharged for medical reasons and had transferred to Princeton to finish his undergraduate degree in mathematics. I managed to get a week's leave from Yale to visit him, and sat in the classes of Emil Artin, Claude Chevalley, and Salomon Bochner, which convinced me that Princeton was the place to be for graduate math students.

After being discharged from the Army in 1946, I returned to Caltech and in June 1947 completed my undergraduate studies. It was already clear to me that math was my calling. My feeling was reinforced by the presence at Caltech of Frederic Bohnenblust, who had been brought to Princeton by Hermann Weyl. Bonenblust brought a breath of fresh air to mathematics at Caltech, and he provided a modern perspective on the English style of analysis that had been stymied in the early twentieth century. He also supported my application to graduate school at Princeton, and one weekend he hiked up to my house (which was so poor it didn't have a telephone) and invited me to meet with Solomon Lefschetz, then head of Princeton's math department.

So, along this winding path of serendipity, I was eventually led to my true training as a mathematician. Yet again, chance played a role in shaping my career. While I was working on my PhD thesis in group theory under Ralph Fox, using topological methods to prove some algebraic results, I collaborated with Al Tucker and graduate student David Gale on a summer project to study the relationship between game theory and linear programming in its infancy. This project set the course for the rest of my academic career, which centered on the application of mathematics to economics.

Every mathematician has a "favorite child". In my case, they are: extended games expressed in tree terms, the Hungarian method, axial methods for approximating immovable points, and an elementary proof of the Fundamental Theorem of Algebra. All of these are combinatorial problems, and thus of the same type as the switch design problem I encountered when I was eleven years old.

Acknowledgments

:Kai-Liang Lin would like to thank his volleyball buddies Ru Li, Yun-Hao Su, and Ideal Li from Northwest A&F University for their technical support!

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What is the reason why "Finding Dory" won the Oscar?

I think "Finding Dory" speaks to people about the meaning of living, the pursuit of dreams, and the exploration of family love. Before "Finding Dory" was released in mainland China, the box office has been soaring, soaring not only because of Pixar and Disney's masterpiece, but also because the movie has triggered widespread concern in the community, some people's **** Ming.

The story of Dreamcatcher takes place in a small town in Mexico, where the protagonist Miguel and his grandmother Coco were born, but Miguel's family may be the only one in the town that is a "geek family", a family of cobblers who regard music as a beast of prey, and who are perhaps influenced by their grandfather's influence, and whose family can't stop Miguel from pursuing the love and pursuit of music.

With the arrival of the annual traditional holiday - Day of the Dead, on this day, every family puts a very characteristic Mexican paper cutout on the window, took out the photos of their deceased relatives, in order to let the deceased loved ones from the world of the dead through the hundreds of marigolds made of "magpie bridges" to be reunited with their own. But Miguel is not a fan of the Day of the Dead. However, after an accident on the Day of the Dead, Miguel travels to the Land of the Dead and learns that if he can't return to the real world before sunrise, he will be here forever. So Miguel begins a wonderful adventure in search of a way back to the real world with a skeleton musician named Eckert and a puppy named Dante, who he meets on the way.

If you haven't seen the movie and you're reading this, you may find the storyline clichéd, but Pixar and Disney have always been able to push these clichéd plots to the next level.

The main story lines are Miguel's adventures in the world of the undead, and his great-grandmother Coco's feelings for his father (Miguel's great-grandfather).

The reason for Miguel's family's distaste for music is that Miguel's great-grandfather "abandoned" his family and his children (Coco) in order to pursue his dream of becoming a musician, and Miguel's family wouldn't allow him to engage in music-related activities even though he was a very talented musician. Miguel gave up his dream for his family. When his dream collides with his family, Miguel makes his first choice.

Coco, the grandmother, always remembers her father's children's song, "rememberme," which she hummed and sang to express her feelings for her father. It is also true that you will never forget your loved ones.

With the end of the movie, when Coco is about to forget the song, Miguel sings "rememberme" with his guitar to remind Grandma of her father's memory, which makes people weep. Miguel for the dream is ultimately persistent, because Miguel for the dream of determination, awakened the grandmother coco heart for the memory of his father, all the misunderstandings have disappeared, Miguel will not be because of the love of music and family reprimand.

I think not only poetry and faraway places, like Miguel, live in the moment, do what you like to do, as the movie Miguel said: "Music is my life!" Chasing the dream you love is also the meaning of living, loving what you love, thinking what you think.

The promotional poster for Dreamcatcher reads, "Before the memory of love fades away, remember me, our love will not fade away!" But what I want to say is: "Before the memory of love disappears, never forget!"

The above is what I know about why "Finding Dory" won the Oscar.

"Finding Neverland": why death isn't scary, being forgotten is?

It's a great movie, with love and affection, success and intrigue, dreams and reality, not only for adults, but also for kids.

The movie tells us that death is not so scary, it tells us the importance of love, what the real death is, and how sad it is to be friendless, and it can heal the pain.

The movie's Douban rating: 9.1 points, but also won a lot of awards such as the 90th Academy Awards, the best animated feature film award, the 75th U.S. Golden Globes and so on, very worth watching.

Movie Poster

Wonderful Karma, Valuable Affection

The movie is about a 12-year-old boy's fantastic dream journey, a wonderful journey to find his family.

The main character of the movie, Miguel, is a boy with a dream of making music, but he was born into a family cursed by music, and his family won't allow him to touch music. This is the beginning of the conflict, and the story is now in full swing.

By chance, he is transported to the land of the dead, and wants to go back to the land of the living before seeing his idol: the famous God of Song.

On the way, he meets Ector. Miguel wants to get out of the Land of the Dead and return to the real world, while Ector wants to go back to reality to see his daughter, and wants to put his only picture on the family altar, so as to change his fate that he may disappear completely at any time, so the two of them travel together.

The two men are accompanied by their daughter, who wants to put her only photo on the family altar to change her fate, which may disappear at any moment.

The two men are accompanied by their daughter, who wants to put her only photo on the family altar to change her fate, which may disappear at any time.

In the movie, Miguel and Ector traveled together, experiencing difficulties and obstacles, but also to enhance understanding and feelings, this journey is also the road of his growth, so that he understands the preciousness of family love.

The ending is of course a happy one, the bad guy is punished, and Ector doesn't disappear, because his picture is placed on the family altar, his great-great-grandchildren, still remember him, and there will be more people who will remember him in future generations.

Family reunion

The real death is to be forgotten, and it's pitiful to be friendless

The movie makes the point that when the soul is removed from the body, when the body goes up in smoke, that's not when a person really dies.

The real death is when no one remembers him, when there is no trace of him in the world, that's when a person really dies, that's when he really dies, that's when he really dies, and that's the ultimate death.

David Eagleman, in The Checklist of Life, says:

In a man's life, he dies three times.

The first time, when your heart stops beating and your breath fades, you are biologically declared dead.

The second time, when you are buried, people attend your funeral dressed in black. They proclaim that you no longer exist in this society, that you have quietly passed away.

The third death is when the last person in the world who remembers you, forgets you. Then you are truly dead, and the entire universe will no longer have anything to do with you.

How many people remember those who have died?

In the movie's Land of the Dead, like the real world, there is a bustling place, a run-down place, a rich neighborhood and a slum. The God of Songs, of course, is still revered because so many people remember him, and he lived a life that was as glamorous as when he was alive.

Hector, on the other hand, a former friend of the God of Song, is a down-and-out troubadour who doesn't know where he's going to end up and is in danger of turning to gold dust at any moment.

Ector took Miguel to borrow a guitar from his friend, and watched his friend go up in smoke in front of him, but there was nothing he could do about it, imagining his own prospects and sadness, "When no one in the world remembers us, we'll disappear from the world, and that's called the ultimate death."

No friends, no one to hold on to, becoming forgotten people, living in the land of the dead is equally difficult and pitiful. So please be kind to our loved ones and friends!

Remember Me

Death is not scary, and sacrifice is remembrance.

The movie tells us that death is not scary, and that birth, old age, sickness and death are normal phenomena.

When we lose our beloved ones, when we lose those who love us, don't be sad, don't be hurt, they are still there.

Death gives them another form of existence, and although the people we love are gone, we still remember them and the love they left us, and they are still alive. This understanding also soothes our broken hearts at the loss of our loved ones.

True love makes memories last forever, and true love makes those who have passed away in this world still live in our hearts and exist somewhere in this world.

Death isn't scary, what's scary is the loneliness and isolation, when you don't have any contact with the world, no one remembers you, you are a completely forgotten person, abandoned by the world, which is the most horrible.

And sacrifices are a way for the living to miss, to remember, to honor the dead, to tell them that we still remember them, that no matter how much time has changed, they still live in our hearts.

Sacrifice is a ritual, an attitude, a way of remembrance, the sacrifice is our whole heart and they talk to the moment of exchange. At this time, I will tell them how I am doing, tell them how their other relatives are doing, tell them not to worry, we are all fine, just miss them.

We're still together

Truly, the movie also has the power to heal, to make us feel better while giving us another understanding of death.

Through the movie, we learned that the real death is when no one in the world remembers you, not just the physical death.

By watching the movie with children, we can talk to them about the topic of death, the importance of rituals, and the significance of life and death.

Let life be like the splendor of summer flowers and death like the quiet beauty of autumn leaves. --Rabindranath Tagore

Live well and live out your values. The value of a person does not depend only on his personal success, but also on how many people he has helped and how much value he has created. It is through helping others that we find the value of our existence, and through helping others we realize our own value.

So please be kind to our family, be kind to the people around us, leave some good, let more people remember us, life will become better.