MUZIKA U SRPSKOM ANIMIRANOM FILMU U PERIODU 1949–1969

Abstract

Тhe 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.