Please use this identifier to cite or link to this item: https://scidar.kg.ac.rs/handle/123456789/15255
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dc.rights.licenseopenAccess-
dc.contributor.authorĆirić, Marija-
dc.date.accessioned2022-11-02T10:03:58Z-
dc.date.available2022-11-02T10:03:58Z-
dc.date.issued2022-
dc.identifier.issn1820-1768en_US
dc.identifier.urihttps://scidar.kg.ac.rs/handle/123456789/15255-
dc.descriptionČlanak je u vidu usmenog saopštenja prezentovan 25. oktobra 2019. kao plenarni referat na 14. međunarodnom naučnom skupu Srpski jezik, književnost, umetnost Filološko-umetničkog fakulteta Univerziteta u Kragujevcu.en_US
dc.description.abstractТhe aim of the paper is to understand the position of music in the Serbian animated film during the first two decades of organized production of this artistic type in socialist Yugo- slavia (1949-1969). It is about the period that begins with the creation of the first (post-war) Serbian animated film, Pupil and a Bad Mark, authored by Vera and Ljubiša Jocić (1949). In this regard, we used the historical method, the method of analysis and a case study. The paper first provides insights into the context of the emergence and stages of development of Ser- bian cinematographic animation, and looks at the problems of understanding the poetics and status of this art, position, and function of music in an animated film, and then turns to the selected titles. The works analyzed in this paper assume the anthological oeuvres of the most prominent names of Serbian animation of the said period (Vera and Ljubiša Jocić, Divna Jova- nović, Marijan Vajda, Slavko Marjanac, Nikola Majdak, Ivo Kušanić, Borislav Šajtinac); the selection, therefore, refers to the totality of the visual, cinematographic, and auditory qualities. The result of this research suggests a considerable range in terms of the relations between music and image, that is, the important position of music as a constituent of narration; reveal- ing the rapid rise of the then still young artistic domain on the Serbian cultural scene. It is important to point out that the research we have conducted is the first attempt to consider the position of music in the historical context of the art of animation in Serbia.en_US
dc.language.isosren_US
dc.publisherUniversity of Kragujevac, Faculty of Philology and Artsen_US
dc.rightsinfo:eu-repo/semantics/openAccess-
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/-
dc.sourceNasledje, Kragujevacen_US
dc.titleMUZIKA U SRPSKOM ANIMIRANOM FILMU U PERIODU 1949–1969en_US
dc.title.alternativeMUSIC IN THE SERBIAN ANIMATED MOVIE IN THE PERIOD 1949-1969en_US
dc.typearticleen_US
dc.description.versionPublisheden_US
dc.identifier.doi10.46793/NasKg2251.349Cen_US
dc.type.versionPublishedVersionen_US
Appears in Collections:The Faculty of Philology and Arts, Kragujevac (FILUM)

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