Editing Moulin Rouge! (section)

===Analysis===

====Postmodern====
Scholarly commentators have interpreted ''Moulin Rouge!'' as an exemplary [[postmodernist film|postmodern film]], citing its methods of aesthetic expression, symbolism, and ties to both fine art and pop culture as evidence.{{sfn|Conner Bennett|2004|pp=114-115}}<ref name=Yang>{{cite journal|last=Yang|first=Mina|title=''Moulin Rouge!'' and the undoing of opera|journal=[[Cambridge Opera Journal]]|volume=20|issue=3|page=269|date=November 2008|url=https://www.cambridge.org/core/journals/cambridge-opera-journal/article/abs/moulin-rouge-and-the-undoing-of-opera/F8AF8DD30AF79894B153E9BB13A24BE3|doi=10.1017/S095458670999005X|s2cid=194085131|issn=1474-0621}}</ref> The film's music also contributes to its postmodern aesthetic. Notably, ''Moulin Rouge!'' combines mid-to-late 20th Century melodies and lyrics with a narrative set in ''[[fin de siècle]]'' France.{{sfn|Kinder|2002|p=54}} Scholars Kathryn Conner Bennett and Marsha Kinder have argued that the use of famous popular songs in a new, original context requires audiences to reinterpret their significance within the framework of the narrative and challenge an assumption that music's symbolism is static.{{sfn|Conner Bennett|2004|p=114}}{{sfn|Kinder|2002|pp=53-54}}

''Moulin Rouge!'' also makes ample use of other postmodern filmmaking techniques, including fragmentation and [[juxtaposition]]. As the film's protagonist, Christian is the primary source of ''Moulin Rouge!''{{'}}s story line and many portions of the story are told from his point of view. However, the narrative is fragmented on several occasions when the film deviates from Christian's perspective or integrates a [[flashback (narrative)|flashback]]. ''Moulin Rouge!'' also juxtaposes a play-within-a-film (''Spectacular Spectacular'') with the film's events themselves to draw parallels between the plot of the play and the characters' lives. This culminates in the "Come What May" sequence, which reveals the development of Christian and Satine's relationship alongside the progression of ''Spectacular Spectacular''{{'}}s rehearsals.{{sfn|Conner Bennett|2004|p=115}}

Postmodernism is also evident in ''Moulin Rouge!''{{'}}s homage to Western musicals, Bollywood [[masala film]]s, and [[music video]]s, as well as Luhrmann's film ''Strictly Ballroom''.{{sfn|Kinder|2002|pp=52-53}}