MIHA ZADNIKAR (Faculty of Arts & Slovenian Cinematheque, Ljubljana, Slovenia)

From Rock Movement to Moving Picture: Goran Bregoviæ Case

Native popular sound in the rock music versus native popular sound in the movies - one observes the difference and considers it as a very subtle and important code: In the first case it provides the process of global effects (it is closer to explicit lyrics), in the second one it is heard as a local musical praxis growing into a text of hard political debates. Could it be the opposite?

Goran Bregoviæ - the legendary Yugoslav rocker and, on the other hand, a mythological pop figure, has became a film music star. As it seems, his life and career propose several prominent questions. Among those let us think about the status of his several voluntary escapes - from rock'n'roll movement to moving pictures; from the poetry; from the unpredictable way of a rocker's life; from the concept of raja; last but not least - from Sarajevo and its war. Has he come home at last?

Is the end of "Sarajevo rock school" truly connected with the end of Yugoslavia? What does rather academic term of "school" actually mean, when one speaks about independent way of rock music creativity? How independent and "schooled" was this music, as it was always closely connected with oral ethnical sources? How can one differ between rock and film composing as an independent act?

We shall - once again - open the discussion about music and Balkan politics as heard through the Emir Kusturica's and some other soundtracks. Goran Bregoviæ, former social worker, has become (their) ideal political spokesman. So, what about the "native point of listening"?