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Klischee und Komposition in Baz Luhrmanns "Moulin Rouge"

Patrick Barth

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Paperback / softback
02 March 2012
$153.00
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Magisterarbeit aus dem Jahr 2003 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,7, Universität Mannheim (Romanistik I), Sprache: Deutsch, Abstract: Manche Geschichten werden geschrieben um die Liebe am Leben zu erhalten und manche Filme werden gemacht, um das Kino am Leben zu halten. Und wenn dies beides gleichzeitig passiert, dann entsteht etwas, dessen Erlebnis nur noch eines ist: Einzigartig.1 So schließt F. -M. Helmke seine Kritik zu Baz Luhrmanns Film 'Moulin Rouge', der im Oktober 2001 in den deutschen Kinos anlief. Aber was soll an 'Moulin Rouge' einzigartig sein? Viele Kritiker bemängeln gerade die einfache Story, die von einem jungen Dichter handelt, der sich im Pariser Fin de Siècle in eine todkranke Kurtisane verliebt:Moulin Rouge has neither grounding, nor a solid or eloquent enough 'book' to anchor it.Instead a deliberately simplistic (anti-naturalist and that's fine) plot that is necessarily familiar.2Dawson geht in seinem Aufsatz zum Filmstil Luhrmanns sogar noch weiter: Luhrmann habe vielen Mythen keinen guten Dienst erwiesen, indem er das naturalistische Potential des Kinos nicht ausschöpfte und so den grundlegenden Unterschied zwischen Film und Theater verkannte3. Gerade diese Tatsache wird von anderen wiederum gepriesen, sie feiern 'Moulin Rouge' als das "erste Kinomeisterwerk des 21. Jahrhunderts"4 und sehen das von den Kritikern schon begrabene Filmmusical wiederbelebt5.[...]1 Helmke 20032 Dawson 20033 vgl. ebd.4 Filmecho 20/20015 Zeller 2003

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$153.00
In Stock: Ships in 7-9 Days
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Klischee und Komposition in Baz Luhrmanns "Moulin Rouge"

$153.00

Description

Magisterarbeit aus dem Jahr 2003 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,7, Universität Mannheim (Romanistik I), Sprache: Deutsch, Abstract: Manche Geschichten werden geschrieben um die Liebe am Leben zu erhalten und manche Filme werden gemacht, um das Kino am Leben zu halten. Und wenn dies beides gleichzeitig passiert, dann entsteht etwas, dessen Erlebnis nur noch eines ist: Einzigartig.1 So schließt F. -M. Helmke seine Kritik zu Baz Luhrmanns Film 'Moulin Rouge', der im Oktober 2001 in den deutschen Kinos anlief. Aber was soll an 'Moulin Rouge' einzigartig sein? Viele Kritiker bemängeln gerade die einfache Story, die von einem jungen Dichter handelt, der sich im Pariser Fin de Siècle in eine todkranke Kurtisane verliebt:Moulin Rouge has neither grounding, nor a solid or eloquent enough 'book' to anchor it.Instead a deliberately simplistic (anti-naturalist and that's fine) plot that is necessarily familiar.2Dawson geht in seinem Aufsatz zum Filmstil Luhrmanns sogar noch weiter: Luhrmann habe vielen Mythen keinen guten Dienst erwiesen, indem er das naturalistische Potential des Kinos nicht ausschöpfte und so den grundlegenden Unterschied zwischen Film und Theater verkannte3. Gerade diese Tatsache wird von anderen wiederum gepriesen, sie feiern 'Moulin Rouge' als das "erste Kinomeisterwerk des 21. Jahrhunderts"4 und sehen das von den Kritikern schon begrabene Filmmusical wiederbelebt5.[...]1 Helmke 20032 Dawson 20033 vgl. ebd.4 Filmecho 20/20015 Zeller 2003

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