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Soft Socialism, Hard Realism: Partisan Song, Parody, and Intertextual Listening in Yugoslav Black Wave Film (1968–1972)

Published online by Cambridge University Press:  15 March 2019

DANIJELA Š. BEARD
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Abstract

In this article I examine the use of music in modernist and politically engaged Yugoslav cinema of the 1960s through three groundbreaking black wave films: Želimir Žilnik's Rani radovi (Early Works, 1969), Dušan Makavejev's WR: Misterije organizma (WR: Mysteries of the Organism, 1971), and Lazar Stojanović’s Plastični isus (Plastic Jesus, 1971). With a specific focus on the use of Partisan songs, I analyse how key political moments are encoded with new levels of meaning in these films, often through parody, irony, and satire. I identify a ‘sonic turn’ within black wave cinema and propose a method of ‘intertextual listening’ to reflect the importance of contextual knowledge in identifying and interpreting the cultural and political baggage trafficked into these movies. I ask how does music shape the discursive strategies and communicative potential of these films, rendering pre-composed music a powerful medium for social and political critique? And in what ways does film music construct the Yugoslav socialist experience more broadly, reflecting how ideals of reform socialism found musical expression in Yugoslav novi film?

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Articles
Information
Twentieth-Century Music , Volume 16 , Special Issue 1: Special Issue: Music and Socialism , February 2019 , pp. 95 - 121
Copyright
Copyright © Cambridge University Press 2019 

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Footnotes

I wish to thank Robert Adlington, Carlo Cenciarelli, and the anonymous readers for their insightful comments.

References

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Filmography

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