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BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC

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Table 1. TIME OF THE GYPSIES

According to characters’ duplicity and conceptual principles as portrayed in the soundtrack)

 

Absence of an outside group brings this concept down to the second level ideology – the analysis focuses on duplicity within each character. Conceptual proximity is expressed through the Roma principle, accentuating purity of the traditional Gypsy life-style, while the Distance represents characters’ evolution through continuos decay of their values and morality. This idea derives from the stereotypical negative portrayal of the Gypsies by the Gadje and is therefore labelled as Gadje Principle).

Track list Proximity (the character’s initial portrayal)

ROMA PRINCIPLE Distance (evolution  or transformation to the other)

NEGATIVE GADJE PRINCIPLE 

1. Scena pojavljivanja majke

(The Scene of Mother Appearing) mother as a  symbol of stability and strength of character ( fixed character without transformations)
musical association with Alo mange liloro - proximit y of the character in their purity of conceptual, musical + geographical setting- Roma principle  

2. Scena Perhanove pogibije

(The Scene of Perhan’s Death) Perhan’s death as the return to the purity of childhood.
musical association with Ederlezi-proximity of the character in their purity of conceptual, musical + geographical setting - Roma principle     

 3. Kustino oro

(Kusto’s Ring Dance) recontextualisation of the ring dance(Gadje dance) to musically portray the decay of values and morality in Gypsy characters - musical portrayal of transformation of Perhan’s character according to the negative Gadje principle

   4. Borino oro

(Bora’s Ring Dance) recontextualisation of the ring dance (Gadje dance) to musically portray the decay of values and morality in Gypsy characters
Ahmed -fixed negative character without transformations presented according to the negative Gadje principle

  5. Glavna tema

(The Main Theme) adaptation of Ederlezi for more leitmotivic purposes of scene music
musical reminder of the conceptual positioning on an abstract level reinforcement of the Roma principle 

 6. Tango

hybrid musical form with Italian stylistic references
(the presentation of art, beauty and culture in Rome and Milan accentuates the portrayal of the Roma in Italy according to the negative Gadje principle) 

7. Pjesma talijanska

(Italian Song) (accordion version as played by Perhan in the ghetto)
musical adaptation of a traditional Italian tune
portrayal of  Perhan’s character according  to the Roma principle (piano version as played by Perhan as a gangster in Italy)
musical adaptation of a traditional Italian tune (Perhan’s individual character as the reprsentative of
the portrayal of Roma in Italy according to the negative Gadje principle)

 8. Ederlezi

(St George’s Day) celebration of St George’s day
portrayal of a Gypsy ritual according to the Roma Principle

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[Articles] [Balkan as a Metaphore table of contents] [Balkan as a Metaphore intro] [Balkan as a Metaphore CHAPTER I] [Balkan as a Metaphore CHAPTER II] [Balkan as a Metaphore CHAPTER III] [Balkan as a Metaphore CHAPTER4] [Balkan as a Metaphore CHAPTER5] [Balkan as a Metaphore CHAPTER6] [Balkan as a Metaphore CHAPTER7] [Balkan as a Metaphore Table 1] [Balkan as a Metaphore Table 2] [Balkan as a Metaphore Table 3] [Research]

BALKAN AS A METAPHOR IN THE FILM COMPOSITION OF GORAN BREGOVIC -  by Nela Trifkovic (Nela Trifković)

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