From Brody's article (link below):
The element of nostalgia in “The Artist” isn’t for a style of filmmaking but for a style of deportment. It’s essentially a movie about formalized clothing and formalized behavior, about personal style as subjected to discipline and deference to public norms of graciousness, and he adapts a very narrow range of the styles of movies from those days to suggest the amiable, sociable, witty, and graceful yet ingratiating decency that seems to him to be exemplary and admirable.
“Hugo,” for all its historical archeology, is entirely different; Scorsese’s past is one in which geniuses can be ruined and forgotten, in which families are precarious and orphans are relentlessly pursued, in which the aesthetic graces conceal indifference and violence along with lost modes of artistic genius. For Scorsese, the technical side of the movies doesn’t just provide opportunities and delights but also quasi-metaphysical mysteries and profoundly intimate modes of self-discovery.
Read more http://www.newyorker.com/online/blogs/culture/2012/02/the-oscars-dull-nostalgic-but-not-without-a-glow.html#ixzz1nZPKJaGc
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