FILMSKA MUZIKA ZORANA HRISTIĆA U KONTEKSTIMA CRNOG TALASA

Abstract

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.