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19 July 2008
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Description
How is Moulin Rouge!(the Baz Lurhmann film) a product of the cultural exchange between,the world’s second and third
largest national cinemas, Indian and Hong Kong and Australian cinema?
How does Moulin Rouge! reflect the global and intertwined nature of contemporary Australian film,
television and popular music industries?
Compare Baz Lurhmann’s strategies of appropriation and adaptation of global film genres to that
of Ang Lee, Lars Von Trier or another national cinema auteur. What does this comparison reveal
about national cinemas in a global era?
Collins, Felicity, “Home and Abroad in Moulin Rouge, The Dish and Lantana.” Australian Cinema
After Mabo. oxford: Cambridge University Press, 2004. 22- 40.
Kinder, Marsha, “Moulin Rouge” Film Quarterly, Spring, 2002. 52 – 59
Dissanayake, Wimal, “Globalisation and the Experience of Culture: The Resilience of Nationhood.”
Gentz, Natascha & Stefan Kramer (eds) Globalisation, Cultural Identities and Media
Representations. Albany: State University Press, 2006. 25-44
Walsh, Mike, “A Passage to Indian Cinema.” Realtime 59 Feb-March 2004.
Feuer, Jane, “The Self-Reflexive Musical and the Myth of Entertainment.” Hollywood Musicals, the
Film Reader. Ed. Steven Cohan. London and New York: Routledge, 2002. 31-40.
McFarlane, Brian, “The Movie as Museum,” Meanjin, 0.4. 2001. 212 – 217.
Sandars, Diana, “From the Hollywood Musical to Music Video: The Grafting that Lies Beneath
Contemporary Australian Musicals.” Refractory. December 2004.
www.refractory.unimelb.edu.au.
O’Regan, Tom, & Rama Venkataswamy, “A Tale of Two Cities: Dark City and Babe: Pig In the City”
Deb Verhoven Ed. Twin Peeks: Australian and New Zealand Feature Films. Damned
Publishing, Melbourne 1999.
Teo, Stephen, “Wuxia Redux: Crouching Tiger, Hidden Dragon as a Modle of Late Transnational
Production.” Meaghan Morris, Siu Leung Li & Stephen Chan Ching-Kiu (eds) Hong Kong
Connections: Transnational Imagination in Action Cinema. Durham & London: Duke
University Press. 2005 191 – 204.
Tryon, Charles, “Virtual Cities and Stolen Memories: Temporality and the Digital in Dark City.” Film
Criticism. 28. 2. Winter 2003.42-59.
Valtwies, Meret, “Success is in the Air: The Soundtrack, Music and Marketing of Strictly Ballroom.”
Perfect Beat. 1. 3. July 1993. 38-49.
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