Die Arbeit analysiert Baz Luhrmanns Film „Moulin Rouge!“ (2001) vor dem Hintergrund postmoderner und orientalischer Stilmittel in Literatur und Film. Moulin Rouge! ist nach Strictly Ballroom (1992) und William Shakespeare’s Romeo and Juliet (1996) das letzte Werk in Luhrmanns ‚Red Curtain Trilogy‘. Charakterisierend für diese Art des Filmschaffens ist, dass der Fokus auf der Art der Erzählung bzw. der Erzählform liegt, und nicht primär auf ihrem Inhalt. Moulin Rouge! verknüpft Elemente des amerikanischen Musicals der 40er und 50er Jahre mit europäischen Charthits der 1990er und Erzähltechniken aus Bollywood Filmen. Dabei spielt er mit postmodernen und poststrukturalistischen Phänomenen wie Intertextualität, mehreren Erzählebenen sowie der Selbstreflexivität der Figuren als auch der Geschichte. Der Film ist laut, bunt und hektisch. Kitsch oder Kunst oder beides - das bleibt eine Frage des Geschmacks.

Inhaltsangabe:Introduction: The show will be a magnificent, opulent, tremendous, stupendous, gargantuan, bedazzlement! A sensual ravishment. It will be Spectacular, Spectacular . Zidler is right. That is what Moulin Rouge! is spectacular. Zidler, the impresario of the Moulin Rouge, tries to sell the bohemian play 'Spectacular, Spectacular', which Toulouse and Christian present to the Duke. However, Moulin Rouge! is 'Spectacular, Spectacular' and vice versa. The Duke is the maharajah, Christian is the penniless sitar player and Satine is the beautiful courtesan. Luhrmann's latest work is loud, colorful, fast, postmodern, a melodrama and a musical, and it is about love. Opinions are much divided over this film and many critics wonder if it is just bad taste and kitsch or an ingenious piece of film art. In other words, it is an original Baz Luhrmann. Until today, the Australian director produced three movies, which he calls the 'Red Curtain Trilogy'. He started with Strictly Ballroom in 1992, followed by William Shakespeare's Romeo and Juliet in 1996 and ended with Moulin Rouge! in 2001. Luhrmann calls his way of filmmaking a theatricalized cinema style . Baz Luhrmann definitely is a unique and versatile character. However, if his film is art or trash remains a matter of opinion. Luhrmann himself disassociates from any categorization in the sense of low culture and high art, taking into account that back in time Shakespeare was also considered as popular culture in the same way, as operas were the lowest form of culture at their peak times. He counters his critics and their objections, die Story ist dünn und simpel , with, Doch gerade das ist eine Konvention des Musicals, aber auch der Oper, mit Ausnahme von Wagner. Aber eigentlich zieht auch Wagner nur einen dünnen Plot in die Länge. The other often expressed criticism that his latest work, is a direct assault on eyes, ears, and expectations (Abele), and hard to exceed in terms of kitsch, he only defies with the credo that, Persönlicher Geschmack ist der Feind der Kunst. . Moulin Rouge! is a mélange of film, music and dance. Set in 1899 but with contemporary music it is a work of extremes. Everything in this film seems to scream: 'anything goes!'. Nevertheless, Luhrmann follows a concept. Nothing in this film happens accidentally but it is his own style. Luhrmann's 'Red Curtain' style comprises several distinct storytelling choices. He uses a rather simple story, based on a well-known [...]

This new go-to reference book for global melodrama assembles contributions by experts from a wide range of disciplines, including cultural studies, film and media studies, gender and queer studies, political science, and postcolonial studies. The melodramas covered in this volume range from early 20th century silent movies to contemporary films, from independent ›arthouse‹ productions to Hollywood blockbusters. The comprehensive overview of global melodramatic film in the Lexicon constitutes a valuable resource for scholars and practitioners of film, teachers, film critics, and anyone who is interested in the past and present of melodramatic film on a global scale. The Lexicon of Global Melodrama includes essays on All That Heaven Allows, Bombay, Casablanca, Die Büchse der Pandora, In the Mood for Love, Nosotros los Pobres, Terra Sonâmbula, and Tokyo Story.

This book traces the origins of Baz Luhrmann's Moulin Rouge! (2001) to opera, employing a variety of theoretical frameworks to highlight their aesthetic and ideological correlation. Through intertextuality, allusions to opera are examined in terms of story, setting and character, while issues of social class, gender representation and orientalism are raised. Prominent examples from opera include Verdi's La Traviata, Puccini's La Bohème as well as 19th century French opera, such as works by Offenbach, Massenet and Gounod. Furthermore, the book explores how the formal elements of opera are translated into the film with a postmodern twist, thus enhancing the interplay between the two media. Moulin Rouge!'s theatricality and self-reflexivity renegotiate the tropes of stage performance, rendering the film a love letter to opera.

Moulin Rouge is a celebration of truth, beauty, freedom but above all things love. Set in the infamous, gaudy and glamorous Paris nightclub, circa 1900, director Baz Luhrmann (Strictly Ballroom, William Shakespeare's Romeo and Juliet) brings together period design and modern-era pop tunes to create a comic/tragic motion picture experience. Nicole Kidman portrays Satine, the Sparkling Diamond, star of the Moulin Rouge and the city's most famous courtesan. Satine is caught between the love of a young writer and another man's obsession. Ewan McGregor is the writer, Christian, who finds himself plunged into this decadent world where anything goes - except falling in love.

Applying postmodern concepts and locating postmodern motifs in key commercial Hindi films, this innovative study reveals how Indian cinema has changed in the 21st century.

This work presents a timely theoretical intervention in the analysis of contemporary film language. It has a truly international scope, featuring films and filmmakers from around the world.