24/2000 - HFS

sitivity in the usage of mute dialogues, and often the test of
their talent lies exactly in this sphere.
UDC: 791.43.01
Hrvoje Turkovi}
Metacommunicational Functions of
Stylistic Deviations
Stylistic deviations, stylistic markedness, do not occur randomly
in a discourse. There are types of films and particular
places in cinematic discourse where the occurrence of
stylistic deviations can be expected with high probability.
Such places are beginnings and endings of a scene, transitions
from scene to scene, places of higher importance within
the scene, and change of the expository style within the
film exposition. Stylizations (deviations from some intradiscoursive
regularity) tend to occur on a regular basis as
metadiscoursive signals, i. e. as signals that enable the
movie-viewer to deal with important changes in the discourse
flow. Functionally, they appear as: discourse unit
openings, closure signals, transition signals, evaluation signals,
commentary, and shift signals (shifters). All these are
demonstrated through the analysis of Hitchcock’s procedures
in North by Northwest and Notorious. Stylizations
constitute specific (»parasitic«) metacommunicative regulatory
system, i. e. the system that regulates (and enables) the
recognition of the communicative structure of discourse;
that helps regulate the communicative adjustment of the
audience to the course of discourse. This regulatory system
is specified and distinguished from the main body of the discourse
(where the main trust of communication lies) both
constitutively (it is based on a certain kind of exception elements,
»deviations«, within the particular context of discourse),
and functionally (it has a second order — meta —
functions: to help manage successfully the main message
functions realized within the discourse).
UDC: 78.071:791.43(497.5) Kabiljo
Irena Paulus
Nikica Kalogjera: from Musicals to
Film Scores
Composer Nikica Kalogjera mostly works in the field of
popular music. He played the piano in popular bands, conducted
the Dance band of RTZ, produced compact discs,
and organised festivals of popular music. Kalogjera also
wrote popular melodies, chansons and songs for children, as
well as music for theatres and children TV series.
It is less known that he has also composed film music. His
filmography includes seven motion pictures, four of which
directed Obrad Glu{evi}. Thus, we decided to analyse two
of his scores from films directed by this director: Naked
Man and Captain Mikula Mali.
The score for Naked Man has several themes among which
stands out the main theme, although we can easily recognize
Hrvatski filmski ljetopis 24/2000.
even less important parts like [piro’s theme, neo-baroque
music for Mr. Tanto, children songs, street themes with
Italian overtones, Dalmatian harmony-singing, etc. The
main characteristic of Kalogjera’s music for Naked Man is its
functionality. The score supports the film narrative, but
since the film is dissected into a series of episodes, the music
itself seems fragmentary and incomplete.
The problem of a coherent score, which remained unsolved
in the movie Naked Man due to the fragmentary nature of
the film, Nikica Kalogjera skilfully resolved in the motion
picture Captain Mikula Mali. Here we encounter one main
theme, which affirms Kalogjera’s inclination towards writing
monothematic scores, observable already in Naked Man.
Comparing film scores for Naked man and Captain Mikula
Mali, besides their monothematic quality, we also reveal
some other constants which appear as standards of
Kalogjera’s style of composing. These are: musical pieces are
often neutral, he uses timpani as basic instruments for creating
drama and tension, displays melodic, harmonic and
formal simplicity, has a firm base in tonality, frequently uses
sequences, makes simple rhythmic and melodic variations of
themes and motives, uses repetitions, etc.
The comparison of these two scores also points to some positive
changes that suggest that Nikica Kalogjera has developed
as a composer of film music. These changes mostly
refer to the creation of the impression of coherence and the
manner of forming a Leitmotif.
In Naked Man, musical themes, and sometimes even whole
musical parts, were transferred from scene to scene. They
appeared in sequence, only in one part of the movie, so that
their function of Leitmotifs was rather questionable. In
Captain Mikula Mali, each time we hear grandfather’s and
Mikula’s theme it is slightly different, but since it is spread
over the film in orderly fashion it is obvious that we are
dealing with a true Leimotif.
The problem of cohesion, which in Naked Man arose from
film’s fragmentary structure, in Captain Mikula Mali no
longer exists. Clearly defining one theme, the composer created
one coherent monothematic score.
UDC: 791.43.01
791.43.03
Noël Carroll
Film Form: an Argument for a
Functional Theory of Style in
Individual Film
Considering various usages of the term ’film style’ of film
form the author focuses on the search for a methodological
framework for consideration of style in individual films.
The analysis of style of individual films, states Carroll, cannot
be reduced to the analysis of the style of the period,
movement style or the ’school’ that the film belongs to since
there are few films, if any, that are clear representatives of
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