University of Kragujevac, Faculty of Philology and Arts
Abstract
Rad je napisan u okviru projekta Brendovi u književnosti, jeziku i kulturi (Projekat FIL-1819), iz ciklusa projekata Jezik, književnost, kultura danas Filološko-umetničkog fakulteta Univerziteta u Kragujevcu.More than half a century ago, Zoran Hristić composed music for the film The man from
the oak forest by painter and director Miodrag Mića Popović. The Black Wave in Serbian cinematography
began with this film. Creative and poignant, the Black Wave is probably the most
provocative media brand of socialist Yugoslavia, a turning point in understanding the seventh
art, and of the ideological position of the once-existing country as well. The aim of this study is to cast light upon the mentioned segment of Hristić’s opus (contextualized by poetic, social
and political framework of the Black Wave), where he broke up with conventional lines of
film music conception. Namely, Hristić demonstrated adaptability to production conditions
as well as creativity in forming scores operating as authentic (aural) continuations, enhancements
of the director’s ideas and emotions. The results obtained from analyzing certain scores
of this composer (The man from the oak forest, Hassan-aga’s wife, The horoscope, Crows, The
restless, and Death and the dervish), point to the following fact: the composer affirmed musical
resources that had previously never been used in domestic cinematography (twelve-note chromatic
scale, concrete music, new sound objects’ research, combining popular genres with high
art idioms etc.), thus revealing new possibilities for film music. In other words, as the Black
Wave is seen today as a wholesome media/cinematographic brand of the common ex-state, it
is possible to claim that Zoran Hristić created the “brand” sound for this artistic movement by
his unconventional actions in music.Publishe
