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

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[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

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