Moulin Rouge

Presentation Transcript

Moulin Rouge

Outline 1. Presentation: A. Setting ; B. Plot ; C. Essential Structure ; D. Structuralist Analysis & Major Argument 2. Melodic as a Genre 3. Melodies in the Musical Scenes 4. Visual Signs & Postmodern (Self-Conscious) Elements

Introduction A. Setting: The Bohemia black market of Paris at the turn of the 20 th Century. (1899-1900)

A. Setting (2) Bohemian soul: The perspective and lifestyle started in around 1830 and proceeded until 1914. It was a period and place where loners spent their lives outside society, picking penury, dinginess and flexibility over flourishing and tradition. They challenged the average, against a social structure in light of cash, against the expanding consistency and dreariness of presence. Bohemia had dependably been a lotus arrive for misjudged and ineffective virtuoso; it had given a creative air to vagrants without ability.

B. Plot: Moulin Rouge depends on the Orphean myth of a poor author (Christine) who drops to the black market looking for perfect love, and afterward becomes hopelessly enamored with a prostitute (Satine).

B. Plot (2): Orphean myth: Orpheus, the child of Apollo and Calliope, has the ability to charm with his music. At the point when his affection, Eurydice was executed, Orpheus slid into the Underworld to argue for her arrival. Captivating Hades, ruler of the Underworld, with his music, Orpheus is allowed to leave with Eurydice on condition he doesn't think back to check whether she is tailing him. At the point when Orpheus nears the passageway to the black market, fear overwhelms him, he swings back to check whether Eurydice is taking after, and he loses her eternity.

C. Fundamental structure: One (penniless) young fellow begins to look all starry eyed at a (rich) lady, however their affection closes in disaster, for example, Shakespeare in Love; Camille .

Moulin Rouge Structuralist Analysis 1.     Christine (subject) seeks his optimal love, Satine (question) in the black market of Paris. 2.     Christine (sender) brings love into Satine's (beneficiary) world. 3.     The dark man (partner) spares Satine twice. One is when Satine tumbles down from a Trapeze; the other one is the point at which the duke (adversary) needs to assault her.

Binaries 1.  Bohemia black market (Toulous) versus Common world (The duke). 2. Cherish (Christine) versus Cash (Satine) 3. Functional (Zilder) versus Sentimental (Satine)

D. Contention: Baz Lulman utilizes numerous abilities to speak to the topic of this motion picture—LOVE, for example, melodic, smooth dramatization, and postmodernism (spoof, pastiche). He pushes us to feel such sentimental/outrageous love can never toward the end in all actuality; subsequently, demise is the main arrangement with a specific end goal to keep love until the end of time.

類型﹝ Genre﹞ 電影 歌舞片∕西部片∕科幻片∕家庭通俗劇等 5. 類型是靜態的﹝深層結構∕眾多電影 固定的規則、元素、功能﹞，也是 動態的﹝表層結構∕單一個體∕規則的 打破變質與演進﹞，通常有四個階段： a. 原始時期﹝ primitive﹞ b. 古典時期﹝ classical﹞ c. 革新時期﹝ revision﹞ d. 嘲諷時期﹝ parodic﹞

類型﹝ Genre﹞ 電影 歌舞片∕西部片∕科幻片∕家庭通俗劇等 6. 類型與意識型態

歌舞片﹝ Musical﹞ 與 紅磨坊﹝ Moulin Rouge﹞ 1. 歌舞片正名： 許多人都誤以為只要電影裡充滿了歌曲或舞蹈，它就是一部標準的歌舞片，完全低估了類型﹝ genre﹞ 的複雜。歌舞片不僅要有歌﹝或﹞有舞，這些歌舞還必須具有 「整合作用」 才行。

歌舞的「整合作用」 a. 推動情節 Cancan (the presentation of Moulin Rouge and working of misconception) The Elephant House (the development and triumph of adoration) Roxanne (working of pressure and internal craving/strife)

歌舞的「整合作用」 b. 表現角色個性 Christian " s " My Song " (na ï ve, innocent,romantic) Satin " s " Fly Away " (difference to the prior material mistress, a visionary)

歌舞的「整合作用」 c . 解決情境 Spectacular, Spectacular (to overpower the duke and pick up his support) Like a Virgin (to beguile the reason for Satin's nonattendance and her diminishing state) The Show Must Go On (to persuade Satin not to abscond with Christian) The consummation show (to unknot the greatest misconstruing amongst Satin and Christian, grasping truth, excellence, opportunity and love)

歌舞片﹝ Musical﹞ 與紅磨坊﹝ Moulin Rouge﹞ 正因為歌舞片的意義往往具體呈現在 愉人的歌舞當中，所以順理成章地， 歌舞片的 類型精神 多半都是浪漫、 優雅、積極、進取、樂觀、向上與 熱情的。

歌舞片﹝ Musical﹞ 與紅磨坊﹝ Moulin Rouge﹞ 「後台歌舞片」 ：鋪陳公式多半都是從主角要排演一齣歌舞劇開始，然後遇到了困難，困難可能包括有人跳槽、出現敵手、甚至點子被竊用，但同時也會有一段愛情在慢慢發芽，這些後台事件之後，再以成功而盛大的正式演出作為圓滿的結束。 the practices of " Spectacular, Spectacular " and the closure execution

歌舞片﹝ Musical﹞ 與紅磨坊﹝ Moulin Rouge﹞ " Masala Movie" ──the well known India Bollywood movies "Masala movies" are normally extreme blending components, for example, melodies and move numbers, brutal activity, and vibrations of the unceasing topics of affection, companionship and nationalistic intensity. Albeit regularly rejected as dreamer amusement, Masala movies remain generally mainstream in India and have turned into a noteworthy bringing together constrain in a nation isolated by disparitive dialects, religions, and ways of life." the Indian favors mixing in the music, move and the visual impacts

III The Analysis of Songs & Musical Scenes A. Tunes as the structure (of the film) a. The entire film is separated into 4 segments, each segment incorporates 5 melodies b. The main tune (of each segment) calls attention to the topic c. Zidler's being the one to illuminate the emergency toward the finish of each area

A. Tunes as the structure (of the film) (2) d. The improvement of adoration amongst Satine and Christian (clashes tackled in tunes) **misunderstanding  acknowledgment, fascination  duty  envy, love e. The reiteration of "Offspring of the Revolution" **Bohemian soul wins over realism

B. Myths inside the melodies a. American melodies V.S. English melodies **songs performed by American artists speak to realism **songs performed by English artists speak to the topic of affection b. Myth related with Orientalism 1. the case of "Roxanne" **the Argentinean is taken after with Tango music ** "Roxanne"  outlandish, sexual, hazardous, pressure, male predominance

B. Myths inside the melodies (2) 2. the case of "Hindi" **lyrics  "She is mine": male predominance  Satine's part: respecting the control **Hindi song  extraordinary, risky, strain, sexual, male strength

C. dialect (tunes) & implications: self-assertive relationship . a. "Exhausted out" and loaded with another idea ** "In the Name of Love," Nirvana, "Roxanne" b. Importance changes as indicated by various settings ** "It's a tad bit entertaining, this inclination inside" c. Melodies with various implications are consolidated to show another topic ** "Elephant Love Medley"

D. Melodies identified with postmodernism: pastiche and discontinuity ** "Elephant Love Medley," "Woman Marmalade," "Shimmering Diamond"

ⅳ Visual Sign Color: 1.      Moulin Rouge—red and another bright hues 2.      Other spots—dim and dim Costume: 1.      Women's — vivid dresses — be alluring 2.      Men — formal suit—pay cash for satisfying ladies

Postmodernism—A Self-Conscious Film Narrative Structure 1.      Beginning: a.      The blind of the film open b.      Toulouse sings "Common Boy." c.      Christine's narrating The begin of Hindi

Postmodernism—A Self-Conscious Film 1.      Ending: a.      The finish of Hindi b.      Christine's writing c.      Toulouse's tune d.      The drapery of the film close

Postmodernism—A Self-Conscious Film Filming Skills: 1.      Rewind 2.     Fast in activities 3.     Music utilizing

以上資料來源 節錄自輔大電影社電影教室 「歌舞類型研究」講義