รบกวนคนใจดีช่วยแปลภาษาอังกฤษให้หน่อยค่ะ
|
|
Baz Luhrmanns use of the popular song to challenge audience expectation is characteristic of the way that pop music culture embodies many aspects of the carnivalesque. For example, the parodic sensibility of the pop scene in Britain during the 1950s was extremely carnivalesque in its appropriation of the more of mainstream Afro-American pop culture. Stars like Cliff Richard and Adam Faith were, for example,really facsimiles of Elvis and other American stars. Likewise, chameleon-like figures like David Bowie, Annie Lennox and Madonna blur the boundaries between the real the simulated: the authentic and the fake. It is not surprising therefore that the arena in which popular music culture is most carnivalesque is the music video. Often described as the ultimate example of postmodern practise, pop music videos (which at their most authentic depict musician miming to synchronised backing tracks), embody a free-form world in which every flavour is on the menu and no style seems to clash. A contemporary example of this is Denis Thibauts production for Bob Sinclars Rock This Party (2006) in which the fifteen year old actor David Beaudoin adopts the identity of whole host of stars from the history of popular music including Michael Jackson, Nirvana, AC/DC, Bob Marley and Justin Timberlake. The way in which this is then edited to different parts of the track (itself a sample based composition) reinforces the pantomime like quality of the visuals. More so than perhaps any other aspect of contemporary culture, the fluid and celebratory nature of modern pop culture embodies the pre-Enlightenment sensibility of the carnival.
พยายามเรียบเรียงแต่ไม่เข้าใจเลยค่ะ
พอดีต้องแปลหนังสือพรีเซ้นงานอาจารย์เป็นเล่มเลย ติดอยู่หลายพารากราฟ
รบกวนช่วยหน่อยนะคะ ขอบคุณมากค่ะ
แก้ไขเมื่อ 19 พ.ย. 55 12:03:35
| จากคุณ |
:
idiocy_amp 
|
| เขียนเมื่อ |
:
19 พ.ย. 55 11:57:31
|
|
|
|
