Pesma U Filmu I Film S Pevanjem
Song In Film And Film With Songs – Towards Genological And Cultural Aspects Of The Genre

Summary/Abstract: The song in performing arts (in film, too) originates from the sang parts first perfomed by the ancient chorus. Syncretic character of performance indicates a possible folklore origin of theatre and film forms employing song, at the same time providing for musical parts natural appeal and strong semantic unity with the events presented. The song in film could be multifunctional: from a musical background to the plot, through a follow-up and specific comment of events, a mean of comic, to a substitute to a plot, representation of characters’ turning points, inner conflicts, or various emotional states, hidden symbolic and allusive-associative levels of meaning. Whatever ways it is used – from films hardly anything more than simple selection of particular folklore performances (Lost Songs of Anadolia), those where song is artistically functional (The Doom is Forthcoming), to ones where song is sang for its own sake, where even plot is subdued to the sang parts (Mama mia) – the song is always of extraordinary importance. In this connection, of all the film genres in which song is to be founded, the musical is outstanding for its vitality, its flexibility, as a form susceptible to permanent metamorphoses and able to adopt and integrate various music forms into its structure – from songs of oral tradition, to pop, rock (the so called, jukebox musicls), etc.

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