Pod filmskom glazbom uglavnom se podrazumijeva glazba koja je
skladana posebno za film. Stvara atmosferu (ugoaj) pri gledanju
filma i potpomae njegovu promociju .
Ukoliko bi se film gledao bez glazbene pratnje (ali s tonom),
doivjeli bi ga dvodimenzionalno bez emocionalne i dublje
povezanosti s radnjom. Filmsku glazbu najee izvode orkestri, koji
variraju u svojoj veliini.
Filmska glazba pokree razne emocije kod gledatelja filma:
umiruje, strai, uznemirava, potie osjeaj mrnje ili simpatije.
Glazba nam moe unaprijed rei kakav e biti karakter lika u filmu,
kao to je to izvrsno prikazala tema Dartha Vadera u filmu "Star
Wars Episode V" skladatelja J. Williamsa.
Glazba ne mora biti uvijek skladana za odreeni film, a da ga
uzdigne i zauvijek se uz njega vee kao to je npr. djelo R. Straussa
"Also sprach Zarathustra" u filmu "2001.: Odiseja u svemiru" od
Stanleya Kubricka.
Moe nas predvidljivo voditi kroz film ili zbuniti. Tako se
primjerice glazbena dionica iz Hitchcockovog filma Psycho, koja je
pratila legendarnu scenu tuiranja, kasnije izvodila i u drugim
filmovima poput komedije "Policijska akademija". Slinu sudbinu
imala je i poznata glazbena pozadina velike bijele psine
Spielbergova filma Ralje, koja se takoer ponavljala najee u
komedijama.
Pop glazba moe isto tako biti dio filma, ali ona uglavnom nije
posebno pisana za taj film i najee ima drugu funkciju (vidi
soundtrackUsually, after the film has been shot (or some shooting
has been completed), the composer is shown an unpolished "rough
cut" of the film (or of the scenes partially finished), and talks
to the director about what sort of music (styles, themes, etc.)
should be used this process is called "spotting."[3] More rarely,
the director will talk to the composer before shooting has started,
so as to give more time to the composer or because the director
needs to shoot scenes (namely song or dance scenes) according to
the final score. Sometimes the director will have edited the film
using "temp (temporary) music": already published pieces that are
similar to what the director wants. Most film composers[who?]
strongly dislike temp music, as directors[who?] often become
accustomed to it and push the composers to be imitators rather than
creators.[citation needed]On certain occasions, directors have
become so attached to the temp score that they decide to use it and
reject the score custom-made by a composer. One of the most famous
cases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick
opted for existing recordings of classical works rather than the
score by Alex North,[4] which eventually led to a law suit by
composer Gyrgy Ligeti when he was surprised to hear his
compositions in a motion film;[5] though one should note Kubrick
hired two composers (the other Frank Cordell) to do a score, and
while North's 2001 is indeed a famous example, it is not the sole
example of well-known rejected scores. Others include Torn Curtain
(Bernard Herrmann),[6] Troy (Gabriel Yared),[7] Peter Jackson's
King Kong (Howard Shore)[8] and the The Bourne Identity (John
Powell).[9]Once a composer has the film, they will then work on
creating the score. While some composers prefer to work with
traditional paper scores, many film composers write in a
computer-based environment.[10] This allows the composer and
orchestrator to create MIDI-based demos of themes and cues, called
MIDI mockups, for review by the filmmaker prior to the final
orchestral recording. Some films are then re-edited to better fit
the music. Instances of this include the collaborations between
filmmaker Godfrey Reggio and composer Philip Glass, where over
several years the score and film are edited multiple times to
better suit each other.[11] Similar to these are the associations
between Sergio Leone and Ennio Morricone. In the finale of The
Good, the Bad and the Ugly, Morricone had prepared the score used
before and Leone edited the scenes to match it.[12] His other two
famous films, Once Upon a Time in the West and Once Upon a Time in
America, were completely edited to Morricone's score as the
composer had prepared it months before the film's production.
Another example is the famous chase scene in Steven Spielberg's
E.T. the Extra-Terrestrial. The score, composed by long-time
collaborator John Williams, proved so difficult to synchronize in
this specific scene during the recording sessions that, as
recounted in a companion documentary on the DVD, Spielberg gave
Williams carte blanche and asked him to record the cue without
picture, freely; Spielberg then re-edited the scene later on to
perfectly match the music.
When the music has been composed and orchestrated, the orchestra
or ensemble then performs it, often with the composer conducting.
Musicians for these ensembles are often uncredited in the film or
on the album and are contracted individually (and if so, the
orchestra contractor is credited in the film or the soundtrack
album). However, some films have recently begun crediting the
contracted musicians on the albums under the name Hollywood Studio
Symphony after an agreement with the American Federation of
Musicians. Other performing ensembles that are often employed
include the London Symphony Orchestra, the City of Prague
Philharmonic Orchestra (an orchestra dedicated exclusively to
recording), and the Northwest Sinfonia.
The orchestra performs in front of a large screen depicting the
movie, and sometimes to a series of clicks called a "click-track"
that changes with meter and tempo, assisting the conductor to
synchronize the music with the film.[13]Films often have different
themes for important characters, events, ideas or objects, taking
the idea from Wagner's use of leitmotif.[14] These may be played in
different variations depending on the situation they represent,
scattered amongst incidental music. A famous example of this
technique is John Williams' score for the Star Wars saga, and the
numerous themes associated with characters like Darth Vader, Luke
Skywalker, and Princess Leia Organa (see Star Wars music for more
details).[15] The Lord of the Rings trilogy uses a similar
technique, with recurring themes for many main characters and
places. Others are less known by casual moviegoers, but well known
among score enthusiasts, such as Jerry Goldsmith's underlying theme
for the Borg in Star Trek: First Contact, or his Klingon theme from
Star Trek: The Motion Picture which other composers carry over into
their Klingon motifs, and he has brought back on numerous occasions
as the theme for Worf, Star Trek: The Next Generation's most
prominent Klingon. Up, the 2009 animated film, used character
themes and received the Academy Award for Best Score in the 82nd
Academy Awards Ceremony.
In 1983, a non-profit organization, the Society for the
Preservation of Film Music, was actually formed to preserve the
"byproducts" of creating a film score:[16] the music manuscripts
(written music) and other documents and studio recordings generated
in the process of composing and recording scores which, in some
instances, have been discarded by the movie studios. The written
music must be kept to perform the music on concert programs and to
make new recordings of it. Sometimes only after decades has an
archival recording of a film score been released on CD.
[edit] Source musicMost films have between 40 and 120 minutes of
music. However, some films have very little or no music; others may
feature a score that plays almost continuously throughout. Dogme 95
is a genre that has music only from sources within a film, such as
from a radio or television. This is called "source music" (or a
"source cue") because it comes from an on screen source that can
actually be seen or that can be inferred (in academic film theory
such music is called "diegetic" music, as it emanates from the
"diegesis" or "story world").[17] A famous example of "source
music" is the use of the Frankie Valli song "Can't Take My Eyes Off
You" in Michael Cimino's "The Deer Hunter". Alfred Hitchcock's 1963
thriller The Birds is a rare example of a Hollywood film with no
non-diegetic music whatsoever.
[edit] Historical notesBefore the age of recorded sound in
motion pictures, great effort was taken to provide suitable music
for films, usually through the services of an in-house pianist or
organist, and, in some cases, entire orchestras, typically given
cue sheets as a guide. In 1914, The Oz Film Manufacturing Company
sent full-length scores by Louis F. Gottschalk for their films.
Other examples of this include Victor Herbert's score in 1915 to
Fall of a Nation (a sequel to Birth of a Nation) and Camille
Saint-Sans' music for The Assassination of the Duke of Guise in
1908 arguably the very first in movie history. It was preceded by
Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by
four months, but that was a mixture of interrelated stage and film
performance in the tradition of old magic lantern shows. Most
accompaniments at this time, these examples notwithstanding,
comprised pieces by famous composers, also including studies. These
were often used to form catalogues of film music, which had
different subsections broken down by 'mood' and/or genre: dark,
sad, suspense, action, chase, etc. This made things much easier for
the in-house pianists and orchestras to pick pieces that fitted the
particular feel of a movie and its scenes.
German cinema, which was highly influential in the era of silent
movies, provided some original scores. Fritz Lang's movies Die
Nibelungen (1924) and Metropolis (1927) were accompanied by
original full scale orchestral and leitmotific scores written by
Gottfried Huppertz, who also wrote piano-versions of his music, so
that it could be played in smaller cinemas, too. Friedrich W.
Murnau's movies Nosferatu (1922 - music by Hans Erdmann) and Faust
eine deutsche Volkssage (1926 - music by Werner Richard Heymann)
also had original scores written for them. Other films like
Murnau's Der letzte Mann contained a mixing of original
compositions (in this case by Giuseppe Becce) and library music /
folk tunes, which were artistically included into the score by the
composer. Nevertheless fully developed original scores were quite
rare in the silent movie era. It should also be noted that as soon
as sound had come to movies, director Fritz Lang barely used
musical scores in his movies anymore. Apart from Peter Lorre
whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie
M - Eine Stadt sucht einen Mrder was lacking musical accompaniment
completely and Das Testament des Dr. Mabuse only included one
original piece written for the movie by Hans Erdmann played at the
very beginning and end of the movie. One of the rare occasions on
which music occurs in the movie is a song one of the characters
sings, that Lang uses to put emphasis on the man's insanity, quite
similar to the use of the whistling in M.
Though "the scoring of narrative features during the 1940s
lagged decades behind technical innovations in the field of concert
music,"[18] the 1950s saw the rise of the modernist film score.
Director Elia Kazan was open to the idea of jazz influences and
dissonant scoring and worked with Alex North, whose score for A
Streetcar Named Desire (1951) combined dissonance with elements of
blues and jazz. Kazan also approached Leonard Bernstein to score On
the Waterfront (1954): the result was reminiscent of earlier works
by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies
and exciting additive rhythms."[19] A year later, Leonard Rosenman,
inspired by Arnold Schoenberg, experimented with atonality in his
scores for East of Eden (1955) and Rebel Without a Cause (1955). In
his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann
experimented with daring musical endeavors in Vertigo (1958),
Psycho (1960)--and The Birds (1963). The use of non-diegetic jazz
was another modernist innovation, perhaps most notably in jazz star
Duke Ellington's score for Otto Preminger's Anatomy of a Murder
(1959).
A full film score widely regarded as the first made by a popular
artist came in 1973 with the film Pat Garret and Billy the Kid, by
Bob Dylan. However the album received very little critical acclaim.
This had not been done before in popular film history: any featured
band had films written around the music (notably The Beatles with
Yellow Submarine).
[edit] Television scoreA television score is a broad term
referring to the music in a television programs which is generally
categorically separated from songs used within a television.
The term television score is frequently synonymous with
television soundtrack, though a soundtrack may also include the
songs used in the television program while the score does not. A
score is sometimes written specifically to accompany a television
program, but may also be compiled from previously written musical
compositions.
Each individual piece of music within a television's score is
called a cue, and is typically a composition for instruments (e.g.
orchestra) and/or non-individually featured voices. Since the
1950s, a growing number of scores are electronic, or a hybrid of
orchestral and electronic instruments. Since the invention of
digital technology and audio sampling, many low-budget television
programs have had to rely on digital samples to imitate the sound
of live instruments.[1][edit] Orchestral film scores
The neutrality of this section is disputed. Please see the
discussion on the talk page. Please do not remove this message
until the dispute is resolved. (December 2007)
The inclusion or exclusion of items from this list, or length of
this list, is disputed. Please discuss this issue on the talk
page.
[edit] ComposersSome notable composers of orchestral soundtracks
include:
A. R. Rahman Nisar Bazmi Craig Armstrong David Arnold Lus
Enrquez Bacalov Angelo Badalamenti Klaus Badelt John Barry Tyler
Bates Christophe Beck Marco Beltrami Charles Bernstein Elmer
Bernstein Howard Blake Terence Blanchard Simon Boswell Jon Brion
Bruce Broughton Carter Burwell Sean Callery John Carpenter George
S. Clinton Charlie Clouser Bill Conti Ry Cooder Aaron Copland
Mychael Danna Don Davis John Debney Georges Delerue Alexandre
Desplat Pino Donaggio Patrick Doyle Anne Dudley Clint Eastwood
Randy Edelman Cliff Eidelman Danny Elfman Harold Faltermeyer George
Fenton Brad Fiedel Jerry Fielding Robert Folk Lisa Gerrard Michael
Giacchino Philip Glass Nick Glennie-Smith Elliot Goldenthal Jerry
Goldsmith Ron Goodwin Harry Gregson-Williams Rupert
Gregson-Williams Dave Grusin Marvin Hamlisch Bernard Herrmann Joe
Hisaishi Lee Holdridge James Horner Akira Ifukube Ilaiyaraaja James
Newton Howard Alberto Iglesias Mark Isham Steve Jablonsky Maurice
Jarre Quincy Jones Trevor Jones Jan A.P. Kaczmarek Michael Kamen
Wojciech Kilar Erich Wolfgang Korngold Michel Legrand Mark Mancina
Henry Mancini Clint Mansell Dario Marianelli Joel McNeely Alan
Menken Giorgio Moroder Jerome Moross Ennio Morricone Ira Newborn
Alfred Newman David Newman Randy Newman Thomas Newman Jack Nitzsche
Alex North Michael Nyman John Ottman Basil Poledouris Rachel
Portman John Powell Zbigniew Preisner Sergei Prokofiev Trevor Rabin
Graeme Revell Laurence Rosenthal Leonard Rosenman William Ross Nino
Rota Mikls Rzsa Arthur B. Rubinstein Craig Safan Ryuichi Sakamoto
Gustavo Santaolalla Philippe Sarde Lalo Schifrin Nathan Scott Eric
Serra Marc Shaiman David Shire Howard Shore Alan Silvestri Max
Steiner Dimitri Tiomkin Brian Tyler Vangelis Shirley Walker Stephen
Warbeck Franz Waxman John Williams Debbie Wiseman Gabriel Yared
Christopher Young Victor Young Hans Zimmer
[edit] SoundtracksSome well-known orchestral soundtracks
include:
Star Wars Series (John Williams)
Jaws (John Williams)
Chinatown (Jerry Goldsmith)
E.T. the Extra-Terrestrial (John Williams)
Close Encounters of the Third Kind (John Williams)
Jurassic Park (John Williams)
Harry Potter Series (John Williams, Patrick Doyle, Nicholas
Hooper)
Indiana Jones Series (John Williams)
Superman Series (John Williams)
Alien (Jerry Goldsmith)
Patton (Jerry Goldsmith)
The Wind and the Lion (Jerry Goldsmith)
American Beauty (Thomas Newman)
The Godfather trilogy (Nino Rota, Carmine Coppola)
Crimson Tide (Hans Zimmer)
The Lion King (Film score by Hans Zimmer)
Pirates of the Caribbean series (Klaus Badelt, Hans Zimmer)
Titanic soundtrack (James Horner)
Star Trek TV Series and films (James Horner, Jerry Goldsmith et
al.)
The Lord of the Rings trilogy (Howard Shore)
The Aviator (Howard Shore)
Gone with the Wind (Max Steiner)
Casablanca (Max Steiner)
Psycho (Bernard Herrmann)
Back to the Future Trilogy (Alan Silvestri)
Batman (Danny Elfman)
Batman Begins and The Dark Knight (Hans Zimmer) and (James
Newton Howard)
Conan the Barbarian & Conan the Destroyer (Basil
Poledouris)
Lawrence of Arabia (Maurice Jarre)
James Bond series (John Barry et al.)
The Magnificent Seven (Elmer Bernstein)
The Omen (Jerry Goldsmith)
The Great Escape (Elmer Bernstein)
Halloween theme (John Carpenter)
Angels and Demons and The Da Vinci Code (Hans Zimmer)
Gladiator (Hans Zimmer)and (Lisa Gerrard)
The Good, The Bad, and The Ugly (Ennio Morricone)
Braveheart (James Horner)
Glory (James Horner)
Atonement (Dario Marianelli)
[edit] Non-orchestral film scoresNon-orchestral film music
includes any genre of music not associated with classical music or
orchestral performance. Composers that use the orchestra for
experimental composition are usually noted as experimental
composers rather than orchestral ones. Other genres of film scores
include, but are not limited to Rock, Pop, Folk, Blues,
Experimental, Electronic, Hip hop, Heavy metal, Jazz, musicals and
World music. Some of the orchestral composers listed above also
compose in these genres although they are usually noted for their
orchestral music. Fewer composers are noted for both their
orchestral and non-orchestral compositions and most non-orchestral
film composers are noted for the specific genre they compose in.
Some non-orchestral composers are also noted artists with their own
compositions.
[edit] ComposersSome notable composers of non-orchestral film
scores include:
Angelo Badalamenti (experimental)
Clint Mansell (world, experimental, post rock)
Terence Blanchard (jazz)
Wendy Carlos (electronic)
Tristram Cary (electronic, experimental)
Ry Cooder (folk, rock, world)
John Carpenter (electronic)
Harold Faltermeyer (electronic, pop)
Peter Gabriel (world) Quincy Jones (jazz, funk, pop)
Henry Mancini (jazz, pop)
Giorgio Moroder (electronic, pop)
Lennie Niehaus (jazz)
Michael Nyman (minimalist, experimental)
A. R. Rahman (world)
Nelson Riddle (jazz) Lalo Schifrin (jazz, pop)
William Susman (world, experimental)
Tru Takemitsu (experimental)
Vangelis (electronic)
[edit] SoundtracksSome well-known non-orchestral soundtracks
include:
Super Fly (Curtis Mayfield)
Shaft (Isaac Hayes)
The Blues Brothers (performed by The Blues Brothers et al.)
Donnie Darko (Michael Andrews)
Amelie (Yann Tiersen)
A Clockwork Orange (Wendy Carlos) (Adapted)
Blade Runner (Vangelis)
Fight Club (The Dust Brothers)
The Rocky Horror Picture Show (Richard O'Brien)
The Lion King (songs by Elton John and Tim Rice)
Eternal Sunshine of the Spotless Mind (Jon Brion)
The Last Temptation of Christ (Peter Gabriel)
Nijemi film [uredi]U Parizu je 22. oujka 1895. godine prikazan
film brae Lumire "Izlazak radnika iz tvornice". To je bila prva
filmska predstava na svijetu. Trajala je tek nekoliko minuta, a
prireivaima je donijela prihod od 35 franaka jer je toj projekciji
prisustvovalo svega 35 gledatelja koji su platili cijenu ulaznice
od po 1 franak. Zanimljivo je spomenuti kako je toj prvoj
projekciji prisustvovao i sam Georges Mlis koji se inae smatra
"ocem animacije" odnosno ocem filmskog pravca koji nazivamo
fikcijom-snovima.
Zvuni film [uredi]Sinkronizaciju filma, tj. istovremeno
odvijanje slike i zvuka, omoguila je fotostanica. Prvi zvuni film
slubeno je prikazan 1927. u Americi, a nosio je naziv "Pjeva jazza"
ili "Jazz pjeva". U glavnoj ulozi bio je glumac Al Jolson, a treba
spomenuti da se sinkronizacija nije odnosila na cjelokupan film.
Naime, samo dijelovi koji su se odnosili na glazbene toke bili su
sinkronizirani, a ostali igrani dijelovi bili su projicirani kao i
prijanji filmovi.
Pojam soundtrack izvorno znai zvuna traka; tonski zapis glazbene
pratnje filma, scenskog djela, televizijske serije itd.
Danas se pod tim pojmom najee podrazumijeva samo glazba iz
filmova i raunalnih igara (Final Fantasy), koja se esto objavljuje
izdvojeno na soundtrack CD-ovima.
Ponekad se glazba snima samo za film (Groznica subotnje veeri),
a esto sadri glazbu raznih izvoaa kako bi tematski pratila film.
Henry Mancini, koji je osvojio nagradu Emmy i dva Grammyja za svoj
soundtrack televizijske serije Peter Gunn bio je prvi skladatelj
koji je postigao veliki uspjeh meu irim gledateljstvom. I danas
mnogi prepoznaju "Peter Gunn temu" iako im je izvorna televizijska
serija nepoznata.
Prvi srpski zvuni filmDragoljub Aleksi, bravar i akrobata ostao
je zabeleen kao jedna od najznaajnijih linosti srpske
kinematografije, jer je njegov film "Nevinost bez zatite" prvi
srpski kompletno zvuni film sa glasovima glumaca. Film je snimljen
1941. godine, a prikazan 1942. godine kada ga je videlo ak 80.000
Beograana.
Dragoljub Aleksi, poznatiji kao akrobata Aleksi je bio reditelj,
producent i scenarista ovog filma, ali je bio i glavni glumac
glumei sebe. U filmu on pokazuje neverovatne akrobacije kao to su
dranje zubima za konopac dok ga vue avion, hodanje na ici razapetoj
izmeu dve zgrade na visini od desetak metara ili kidanje elinog
lanca zubima.
Akrobata Aleksi je princ na belom konju koji spaava Nadu,
lepoticu u nevolji. Nju hoe da osvoji zli Petrovi uz pomo njene
opake maehe. Ali Aleksi, uz pomo svojih akrobatskih vetina, prelee
sa zgrade na zgradu, oslobaa se od lanaca kidanjem zubima da bi na
kraju spasio dragu iz kandi zlog Petrovia.
Budui da je film snimljen u Beogradu za vreme okupacije, Aleksi
je imao dosta problema sa Nemcima, bio je ispitivan i zamalo da
film bude zabranjen. Naalost, to je bila tek sitnica u poreenju sa
onim to ga je ekalo posle rata. Partizani su ga izveli na sud kao
izdajnika, a on se branio da je umetnik i da nikakve veze sa
Nemcima nije imao. Posle svega, Aleksi je ipak doiveo duboku
starost i umro je u Beogradu 4. novembra 1985. godine u svojoj 85
godini.
Duan Makavejev, na veliki reditelj je otkrio ovaj film i 1968.
godine snimio ponovo "Nevinost bez zatite" sa delovima originalnog
materijala i intervjuima glumaca iz prave postave koji su jo uvek
bili ivi. Naravno, tu je bio i Dragoljub Aleksi i on je u svojoj 68
godini hteo da pokae da nije nita izgubio od svog umea.
Tada je pokuao da pree icu razapetu izmeu dve trospratnice, ali
u sred prelaska ona je pukla, a Aleksi pao sa vie od 15 metara. On
je samo ustao i teatralno proetao ispred zanemele publike.
//Lektira srpske kinematografije
Aleksandar Saa Erdeljanovi
O Srbiji se obino govori kao o zemlji koja tapka u mestu i uvek
u svemu kasni za
ostalima, pa i za najbliim susedima. Ta dnevnopolitika
konstatacija je esto
tana, ali ne ba i uvek. Da li se ona odnosi i na srpsku
kinematografiju? Uz
decidno ne, postaviu Vam pitanje: Da li ste znali da je Srbija
prva zemlja na
Balkanu koja je snimala sopstvene igrane filmove?
Verovali ili ne, u Beogradu, junoslovenskom Pijemontu, od 1911.
do 1914. godine
postojale su ak tri (a moda i etiri) producentske kue koje su
aktivno radile
obavljajui ulogu pionira nae filmske proizvodnje. Imena
Svetozara Botoria,
brae Savi, oke Bogdanovia i drugih, na prvi pogled zaboravljena,
otkriima
iz poslednjih nekoliko godina ponovo poinju da sjaje sjajem iz
vremena svog
postojanja. Kako nijedna lektira na svetu ne poinje bez Ilidaje
i Odiseje, ova
naa, filmska, oliena u delu prvog producenta s naih strana -
Svetozara
Botoria, sada je pred vama. Tako e i Novi Sad srpska Atina,
napokon imati
ast da na novouspostavljenom festivalu najdrae nam drave, ima
premijeru
dva prva srpska i balkanska igrana filma iz 1911. godine.
Romantini i tragini,
Ulrih Celjski i Vladislav Hunjadi, koji ukazuje na tajnovito
zaboravljene srpskomaarske
veze s poetaka kinematografije uspostavljene prijateljstvom
beogradskog trgovca, hotelijera, vlasnika prvog srpskog stalnog
bioskopa i prve
producentske kue Svetozara Botoria i snimatelja slavne francuske
kue Braa
Pate, umetnikog imena Luj de Beri (pravim imenom Lajoa Zoltana
Arpada
Pitrolfa) i velianstveni biografski ep o ivotu i stradanju oca
moderne srpske
drave Karaora Petrovia, ivot i dela besmrtnog voda Karaora, oba
u
reiji legendarnog glumca, reditelja i boema ia Ilije Stanojevia,
su neoborivi
dokaz neoekivane zrelosti i vetine, lienih uobiajenog
dilentatizma i greaka
vezanih za poetnike pokuaje. Pratie ih takoe premijerno, nita
manje
uspene, efektne dokumentarne reportae Jedna seoska srpska
svadba, (1911)
ujedno i prvi na etnoloki film, te Trke na Banjici iz 1911 i
Letenje avijatiara
ovanija Vidmera iz 1912. godine, prvi primeri sportskog filma u
nas, svi snimljeni
maginom kamerom misterioznog de Berija. Ne treba smetnuti s uma
da u
Vojvodini istovremeno kinematografsku istoriju zapoinju Ernest
Bonjak u
Somboru i Aleksandar Lifka u Subotici, dok se mlaani Novosaanin
Vladimir
Totovi u bioskopu nadahnjuje i priprema za svoju kratkotrajnu i
traginom smru
prekinutu obeavajuu karijeru, ali o tome vie neki drugi put.
Dok se ratovi vode Muze ute delimino je tana izreka vezana za
period
Prvog svetskog rata, mada se i za vreme Albanske golgote i
vaskrsa srpske
drave i naroda nije zaboravljalo na film i filmsku traku. U
nesrenom
meuratnom razdoblju, kinematografija drave SHS je patila usled
nedovoljne
organizovanosti, poluamaterizma, nasleenog siromatva i
nerazumevanja
zvaninih institucija, ali bez obzira na sva potcenjivanja ini se
da ona u naoj
filmskoj istoriji zauzima znaajnije mesto no to je to do sad
bilo priznavano. Kratki
igrano-reklamni film o korienju zubne paste Kuakovi, Sve radi
osmeha iz
1926. godine s nezaboravnom Nevenkom Urbanovom u glavnoj ulozi,
kao uvod
u ambiciozniju dramu iz miljea rudarskog ivota Rudareva srea
(1929) ustoliio je
Josipa Novaka u vrhunske zanatlije predratnog filma. Tada rade i
velom tame
prekriveni velikani kinematografije Kosta Novakovi, Milutin Bata
Nikoli, Vojin
orevi, Milutin Ignjaevi, Ranko Jovanovi, Miodrag Mika orevi,
Danilo
Jaki i ini, iji retki sauvani filmski kadrovi u Kinoteci govore
o entuzijazmu
veem od ivota. Ipak, jedno ime je posebno izdvojeno Mihailo Al.
Popovi,
koji svojim dirljivim i humanistikim delom Sa verom u Boga iz
1932. godine, pravi
ne samo najbolji srpski i jugoslovenski film cele epohe, ve i
apologiju stradanja i
spasenja srpskog naroda u Velikom ratu 1914 1918. godine. Nita
manje
oduevljenja ne izaziva ni najbolji dokumentarac Kraljevine
Jugoslavije slinog
tematskog usmerenja, Golgota Srbije iz 1940. godine, zabranjivan
od cenzure
zbog svoje istinoljubivosti, u kome su Stanislav Krakov, Andra
Glii i Zarija oki
dali objektivnu epopeju drave i naroda, koji su se snagom volje
i slobodarskog
duha uspravili iz pepela. U samo predveerje rata stvoren je
efektni poetski
dokumentarno-igrani kola Pria jednog dana (1941), nedovrena
simfonija
Beograda u dvadeset i etiri sata, mladog i neobino talentovanog
i
sofisticiranog pariskog aka Maksa Kalmia, koji e samo par meseci
kasnije
stradati kao jedna od prvih rtava nacistikog terora u
Beogradu.
A onda je nastupio i Drugi svetski rat, i cela istorija se kao u
ciklinom toku
ponovila. Ruenje, destrukcija, bratoubilaki rat, stradanja, rtve
a gde je tu
kinematografija? Iako su umetnici uglavnom utali, kao i njihove
kamere, i pod
okupacijom i strahovladom su egzistirali i radili filmski
zanesenjaci. Akrobata i
snagator, svetski poznat jo pre rata po nevienim vratolomijama i
egzibicijama
u vazduhu, Dragoljub Aleksi, uz pomo istaknutog predratnog
snimatelja
Stevana Mikovia Baja Dore, odluio je da usred ratnog haosa
napravi prvi
srpski igrani dugometrani zvuni film. Iako arhaina i beskrajno
naivna, njegova
Nevinost bez zatite iz 1943. godine posedovala je nepatvoreni
arm, to joj je
omoguilo da bude drugo ostvarenje po gledanosti u Srbiji za
vreme okupacije.
Rat se na sreu zavrio i posle kratkih smutnih vremena, dolo je
novo,
komunistiko doba. Svata bi se moglo govoriti o toj, u smislu
ljudskog postojanja
kratkotrajnoj tvorevini, zasnovanoj na kultu i harizmi jednog
oveka. No, kada je
film u pitanju, uprkos svim politikim pritiscima i cenzorskim
makazama, raznim
republikim i nacionalnim kljuevima, kinematografija je
ispoljavala pozitivnu
ulogu i prednjaila u kulturi SFRJ. Izgleda kao da je nameteno,
ali ba ove
godine su se na udesan nain sa nastankom novosadskog Festivala
poklopili
jubileji velikih klasinih dela nae filmske povesti. Prvi film
posleratne Jugoslavije,
Slavica (1947), edo nae mlade kinematografije uprkos svih
slabosti,
ideologiziranosti i tematske konstrukcije i danas pleni lepotom
i toplinom koji su
oduevljavali milione napaenih ljudi tek izalih iz rata. est
decenija Slavice prati
deceniju mlai Subotom uvee Vladimira Pogaia, prvi beogradski
film koji je
na autentian nain, u formi omnibusa, pokuao da prikae urbanu
svakodnevicu i probleme sa kojima se suoavaju mladi ljudi, elei,
dodue jo
uvek stidljivo da dokae da slobode nikad nije dosta.
etrdesetogodinjica
Skupljaa perja Aleksandra Petrovia izuzetna je prilka da jo
jednom vidimo ovo
gandiozno ostvarenje domae kinematografije, koje je na ubedljiv
i autentian
ali i reijski senzibilan i metaforian nain opevalo ciganske
sudbine, veno
osuene na lutanje, pesmu i strast. Ta ista 1967. godina bila je
sa svojih trideset
pet snimljenih ostvarenja ne samo najplodotvornija ve i umetniki
najuspenija
za jugoslovenski film. Izmeu ak devetnaest snimljenih filmova iz
Srbije naveu
samo neke od najuspenijih: Buenje pacova ivojina Pavlovia,
Ljubavni sluaj
ili tragedija slubenice PTT Duana Makavejeva, Nemirni Kokana
Rakonjca,
Praznik ora Kadijevia, Hasanaginica Mie Popovia... Uspean je bio
i
ostatak Jugoslavije, gde su nastali Pria koje nema i Na avionima
od papira
Matjaa Klopia, Diverzanti Hajrudina Krvavca, Breza Ante Babaje,
Kaja, ubit u
te! Vatroslava Mimice, Mali vojnici Bate engia itd... Uz
najbolje meu
navedenim, svakako se uvruju i jo dva srpska filma: Jutro Purie
orevia i
Kad budem mrtav i beo ivojina Pavlovia. Dok prvi na
nekonvencionalan i lirski
nain govori o ratu i revoluciji koja jede svoju decu, drugi se
surovo i
beskompromisno bavi besmislom ivota mlade generacije u
carstvu
samoupravljake lakirovke. Ubrzo nakon ovoga, u krugovima dravnog
aparata
e doi prvo do podozrenja a zatim i otvorenog progona tzv.
crnotalasovaca
(zapravo najtalentovanijih reditelja kao to su Petrovi, Pavlovi,
Makavejev,
Popovi i drugi), iji je osnovni cilj kako su partijski aparatici
tvrdili bio da
izazivaju drutvo i njegove osnovne vrednosti lano i netano
prikazujui ivot u
socijalistikom samoupravnom sistemu. Jedan od najveih
stradalnika meu
retiteljima iji su filmovi bili zabranjeni bez zabrane je mladi
novosadski reditelj
elimir ilnik. Njegov neuobiajeno hrabri prvenac Rani radovi iz
1969. godine,
sav zasnovan na buntu i protestu mladih protiv okotalih
vrednosti i titoistikoj
prevari iz 1968. godine, u inostranstvu je hvaljen a u zemlji
estoko osporavan a
potom ubrzo sklonjen u bunker.
Toliko u prvoj godini. Krenuli smo od srpske filmske azbuke da
bi mogli da itamo i
gledamo kinematografsku lektiru. U deset programa na jednom
mestu od 4. do
8. jula pred vama su odabrani biseri lektire srpskog filma.
Uzmite ih sa dlana.Prokofjev vai za klasika meu kompozitorima
moderne muzike. Njegov znaaj je veliki i u oblasti filmske muzike.
Muzika za film Aleksandar Nevski vai za kljuno delo u istoriji
filmske muzike. Uticao je na modernu filmsku muziku
klasino-romantinog stila, pa se varijacije njegovog stila mogu
primetiti u filmskoj muzici s kraja 20. veka (Don Vilijams, Dejms
Horner
16. 1889., ,
25. 1977.,
(1918-20) (1924-28) (1936-42) ' (1943-77)
[]
Academy Honorary Award1929 The Circus1972 Lifetime
AchievementBest Original Music Score1952 Limelight
NYFCC Award for Best Actor1940 The Great DictatorCareer Golden
Lion1972 Lifetime Achievement
(. Sir Charles Spencer Chaplin; ) 16. 1889. . ( , ), , , .
, - . (Keystone), . , , 1914. - "Keystone Was Making a Living"
"Kid Auto Races at Venice".
. , . 20 , .
. , , . 1920. " " "".
, , . " " " ". 1928. .
1931. . , .
1945. . 1937. " " , . . , . " " 1973. ( 15 ). , 1973. .
1975. , , .
, . 30 , . 25. 1977. , 20 .