{"title":"Zoran simjanoviki的巴尔干Ekspres混音:一首歌曲在档案和原始电影音乐之间的地位","authors":"M. Novaković","doi":"10.5937/zbakum1907120n","DOIUrl":null,"url":null,"abstract":"The aim of this paper is to give a theoretical approach to the status of a song in a film, which can be found in the space between the original and the archival film music. The case studies taken for this paper represent some of the most popular films, to whose popularity contributed precisely a song. Zoran Simjanovic wrote music for both films that will be presented here and whose music will be analyzed, as it is mostly made up of songs.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"302 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Zoran simjanović's Balkan Ekspres mix: The status of a song between the archival and the original film music\",\"authors\":\"M. Novaković\",\"doi\":\"10.5937/zbakum1907120n\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The aim of this paper is to give a theoretical approach to the status of a song in a film, which can be found in the space between the original and the archival film music. The case studies taken for this paper represent some of the most popular films, to whose popularity contributed precisely a song. Zoran Simjanovic wrote music for both films that will be presented here and whose music will be analyzed, as it is mostly made up of songs.\",\"PeriodicalId\":31481,\"journal\":{\"name\":\"Zbornik Radova Akademije Umetnosti\",\"volume\":\"302 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Zbornik Radova Akademije Umetnosti\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5937/zbakum1907120n\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Zbornik Radova Akademije Umetnosti","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5937/zbakum1907120n","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Zoran simjanović's Balkan Ekspres mix: The status of a song between the archival and the original film music
The aim of this paper is to give a theoretical approach to the status of a song in a film, which can be found in the space between the original and the archival film music. The case studies taken for this paper represent some of the most popular films, to whose popularity contributed precisely a song. Zoran Simjanovic wrote music for both films that will be presented here and whose music will be analyzed, as it is mostly made up of songs.
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