"Spectacular, Spectacular": The Mythology of Theatre and Cinema within Baz Luhrmann's Red Curtain Trilogy

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dc.contributor.advisor Dr. Marsha Orgeron, Committee Chair en_US
dc.contributor.advisor Dr. Devin Orgeron, Committee Member en_US
dc.contributor.advisor Dr. Joseph Gomez, Committee Member en_US
dc.contributor.author Everett, Mary Elizabeth en_US
dc.date.accessioned 2010-04-02T18:12:51Z
dc.date.available 2010-04-02T18:12:51Z
dc.date.issued 2005-12-07 en_US
dc.identifier.other etd-12012005-231429 en_US
dc.identifier.uri http://www.lib.ncsu.edu/resolver/1840.16/2380
dc.description.abstract "Spectacular, Spectacular" looks at Baz Luhrmann's Red Curtain Trilogy—Strictly Ballroom (1992), Romeo + Juliet (1996), and Moulin Rouge (2001)—in the context of the mythologies of the theatre and cinema that Luhrmann builds. Evoking themes, images, and concepts found within these two mediums, Luhrmann goes to great lengths to signify both the cinematic and the theatrical within these films through references to popular culture, and these references incrementally mesh the worlds of theatre and cinema throughout the trilogy. In Strictly Ballroom, Luhrmann explores the concepts of performance, spectacle, and realism while at the same time replicating a popular cinematic form of the time, the non-diegetic musical. Moving further away from the popular genre that Strictly Ballroom mirrored, Luhrmann next made Romeo + Juliet, a film that speaks to many of the same conventions of theatre and film while also adding features of diegetic song and self-referentiality to heighten this connection. Moulin Rouge, Luhrmann's final film, is an overt musical homage, complete with internal and external references to both theatre and film with an overwhelming sense of awareness of popular culture. Although many critics, including Luhrmann himself, have praised him for his innovative style, this thesis argues that Luhrmann's trilogy does not create a new film form. Rather, "Spectacular, Spectacular" will demonstrate that his self-proclaimed genre, Red Curtain Cinema, is a modernized echo of an earlier idea—using popular culture and referentiality to pay tribute to a fading genre—found in one of the most popular movie musicals of all time, Singin' in the Rain. en_US
dc.rights I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to NC State University or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. en_US
dc.subject mythology in film en_US
dc.subject myth en_US
dc.subject Moulin Rouge en_US
dc.subject film adaptation en_US
dc.subject red en_US
dc.subject Romeo and Juliet en_US
dc.subject Strictly Ballroom en_US
dc.subject Baz Luhrmann en_US
dc.subject red curtain cinema en_US
dc.subject film en_US
dc.subject theatre in film en_US
dc.subject cinema en_US
dc.subject theatre en_US
dc.subject Roland Barthes en_US
dc.title "Spectacular, Spectacular": The Mythology of Theatre and Cinema within Baz Luhrmann's Red Curtain Trilogy en_US
dc.degree.name MA en_US
dc.degree.level thesis en_US
dc.degree.discipline English en_US


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