Abstract This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining of the related skills of tango practice and filmmaking are an audio-visual treat for the senses and a cognitive challenge for the mind. Their self-reflexivity promotes excess and the result is a highly expressive and complex form. They evince a cross-fertilization of reality and fiction, of art and life, typical of a perfect mise en abyme as described by Christian Metz. These films are also art musicals, although they depart from the Hollywood musical conventions. Yet, one cannot speak in their case of intermedia reflexivity, according to Petr Szczepanik’s definition, because both of them retain their qualities in a symbiotic relationship of likeness that highlights their mutual aura.

中文翻译：

---

代表一切的喧嚣与愤怒的故事：阿根廷探戈舞蹈电影作为复杂的自反创作

摘要 本文将阿根廷探戈（舞蹈、音乐和歌曲）的多维艺术形式等同于电影与生俱来的混合形式。它将阿根廷探戈文化与 1950 年代法国巴黎的迷影狂热相提并论，认为它们都是充满激情、色情和怀旧的生活方式。在 Carlos Saura 的探戈 (1998) 和 Sally Potter 的探戈课 (1997) 中，探戈练习和电影制作的相关技能相互交织，既是对感官的视听享受，也是对大脑的认知挑战。他们的自反性促进了过度，结果是一种高度表现力和复杂的形式。它们体现了现实与虚构、艺术与生活的交叉融合，这是克里斯蒂安·梅茨 (Christian Metz) 所描述的典型的完美混沌。这些电影也是艺术音乐剧，尽管他们背离了好莱坞的音乐惯例。然而，根据 Petr Szczepanik 的定义，人们不能就他们的中介自反性说话，因为他们都在一种突出他们共同光环的共生关系中保留了他们的品质。