Postmodern Moulin Rouge Henri Ramone de Toulouse-Lautrec At the Moulin Rouge’ (1895) Outline 1. Introduction: A. Starting Questions B. Setting & Plot ; C. Major Argument 2. Structuralist Marxist Approach: Binaries Plot and Motif Toulouse’ roles
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Henri Ramone de Toulouse-Lautrec
At the Moulin Rouge’ (1895)
A. Starting Questions
B. Setting & Plot;
C. Major Argument
2. StructuralistMarxist Approach:
3. Semiotic Approach -- MR as a postmodern pastiche on love
4. Moulin Rouge in Today’s Context
Montmarte -- Many artists, from Berlioz to Picasso, lived, worked, and played here. These creative spirits (and their cafe, the Lapin Agile) helped keep this area the city's intellectual and artistic center up until the first World War.
Moulin Rouge (The Red Windmill): “A kingdom of night-time pleasures where the rich and powerful came to play with the young and beautiful creatures of the underworld. ”
The state of mind and way of life began in about 1830 and continued until 1914. It was a time and place where misfits spent their lives outside society, choosing penury, squalor and freedom over prosperity and convention. They protested against the bourgeois, against a social structure based on money, against the increasing uniformity and drabness of existence. Bohemia had always been a lotus land for misunderstood and unproductive genius; it had given an artistic aura to vagrants without talent.
Orphean myth: Orpheus, the son of Apollo and Calliope, has the power to enchant with his music. When his love, Eurydice was killed, Orpheus descended into the Underworldto plead for her return. Enchanting Hades, monarch of the Underworld, with his music, Orpheus is permitted to leave with Eurydice on condition he does not look back to see if she is following him. When Orpheus nears the entrance to the underworld, fear overpowers him, he turns back to see if Eurydice is following, and he loses her forever.
“… a story about love. A love that will live forever. The end.”
Love cannot be represented except with pastiche (all-in-one) and repetition.
1. Bohemia underworld (Toulous) vs. Bourgeois world (The duke).
2. Idealistic/Love (Christine) vs. Practical/Money (Zilder)
(Satine) in between
3. The romantic or melodramatic vs. burlesque
4. The black and white vs. the colorful vs. the surreal (artificial) colors
**misidentification recognition, attraction commitment trial (Duke): the supper, the ending jealousy and misunderstanding love
Repetitions of “Children of the Revolution” and “Nature Boy”
**Bohemian spirit wins over materialism?
**No. The use of Toulouse is only superficial—for plot development and setting. --one that confirms love, and has his paintings set the tone of Moulin Rouge (see images of —posters in Zidler’s office)
1. introduce the nature boy, 2. undercuts the love scene, 3. confirms Satine’s love, 4. reveal the duke’s plot.
B. Quests and 2 Mission – Frustrated or in Conflict
3. Helper and Opponent
Chocolate: Helper -- saves Satine twice;
4. The illness – revealed at the beginning, confirmed when S is faced with the first choice, terminating her life at the end.
“Never fall in love with a woman who sells herself. It always ends bad.” (tango dance chap 23 –a contrast to the use of tango in Rent.)
5. Pastiche style:
Meant to foreground the love, but also undermines it –
Signs of the Exotic
All the Songs
a. American songs V.S. English songs
ref. (the point of a group of students)
**songs performed by American singers represent materialism
**songs performed by English singers represent the theme of love
2. the example of “Hindi”
**lyrics “She is mine”: male dominance
Satine’s part: yielding to the domination
**Hindi melody exotic, dangerous, tension, sexual, male dominance
. a. “Emptied out” and filled with a new concept
** “In the Name of Love,” Nirvana, “Roxanne”
b. Meaning changes according to different contexts
** “It’s a little bit funny, this feeling inside”
c. Songs with different meanings are combined to present a new theme
** “Elephant Love Medley”
Lamour, love, besides Christian’s attic.)
Love lifts us up where we belong. . .
SATINE: Get down, get down!
CHRISTIAN: Where eagles fly on a