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There have been loads of comments on the recent film, Moulin Rouge (Baz Luhrmann, 2001). Surely we will find laud and criticism. But the question is, at the first glance of the film, how many of the spectators really know the worthy of remark in it?
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There have been loads of comments on the recent film, Moulin Rouge (Baz Luhrmann, 2001). Surely we will find laud and criticism. But the question is, at the first glance of the film, how many of the spectators really know the worthy of remark in it? I am sure not a high number. This is because "nobody knows for sure" what the postmodern is or what the elements of a postmodern camera are. In this essay, I would like to elaborate the way that Moulin Rouge becomes a masterpiece of a postmodernist film. First of all, the film embodies the quality of "eclecticism and hybridism". From the very beginning and the very end of the film, it seems convincing the moviegoers that they are watching a musical. As we see the dwarf, Toulouse and someone are 'singing out' the story and it ends with a curtain falling down. It is not...
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