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Japanese director Kōji Morimoto has created characters, script, scenography, music and other elements of his animated film Magnetic Rose on the basis of two Puccini’s operas, Tosca and Madama Butterfly. He designed the main character, the operatic singer Eva, after Puccini’s heroines, Floria Tosca and Cio-Cio-San. Eva sings two arias and a duet from Puccini, interpreted by Maria Callas and adapted for the film by composer Yōko Kanno. The article explores how librettos and their literary predecessors, theatrical plays La Tosca by Victorien Sardou and Madama Butterfly: A Tragedy of Japan by David Belasco, provide parallel readings or even the Urtext of Morimoto's film; it explains how operatic heroines’ tragic destiny (typical for operatic style verismo) influence film’s catharsis and how Aristotle’s understanding of the Greek tragedy (via Sardou’s understanding of the notion of pièce bien faite) permeates the structure of Magnetic Rose.

Program Treće filmske večeri Hrvatskog filmskog ljetopisa otvorit će u 19 sati nastup glazbenog trija Pavla Miljenovića koji će u predvorju izvoditi nezaboravne standarde filmske glazbe. Uz izbor pića, posjetitelji mogu uživati u ugodnoj atmosferi i razgovoru o filmu. U 20.15 sati u Velikoj dvorani na rasporedu je tribina o filmskoj glazbi u kojoj sudjeluje muzikološki, filmološki, dirigentski i pijanistički trio: Irena Paulus, Marijan Tucaković i Nikica Gilić. Bit će riječi o načinima upotrebe i povijesti glazbe u filmu, uglednim hrvatskim i svjetskim filmskim skladateljima, kao i o temama iz aktualnog broja Ljetopisa: soundtracku suvremenih blockbustera, nastupima klasičnih pijanista u igranim i animiranim filmovima, Almodóvarovim vezama s popom i world musicom te žestokim očitovanjima punka na ekranu.

Disertacija "Glazba kao komponenta filmskog zvuka: teorijski aspekti" donosi uvjerljivu i iznimno kompetentnu sintezu dosadašnjih radova o problematici filmske glazbe i filmskog zvuka te razrađuje inovativnu i sistematiziranu teorijsku koncepciju glazbe kao komponente filmskog zvuka. Autorica je udarila čvrste temelje znanstvenom proučavanju filmske glazbe, koji mogu poslužiti kao jedan od najsnažnijih razvojnih pravaca u interdisciplinarnim proučavanjima unutar znanosti o umjetnosti.

Cilj je ove disertacije ukazati na performativne i teatralne elemente u pijanističkoj i dirigentskoj koncertnoj izvedbi te ih dovesti u odnos sa spoznajama recentnih teorija izvedbenih umjetnosti. Uporabom teatroloških alata postavlja se hipoteza međuteatra u pijanizmu i dirigiranju, čime se označava performativne i teatralne elemente pijanističkog i dirigentskog nastupa. Analizom tekstova autora ne-glazbenika dobiva se pregled izvanglazbenih segmenata koji, pored glazbe, glazbeni događaj izoštravaju kao izvedbeni. Uz tekstove autora ne-glazbenika, kao operativni aspekt istraživanja uzima se analiza prezentacije pijanista i dirigenata na temelju filmskih zapisa kako bi se ustanovilo na koji način kamera bilježi i dodatno potvrđuje zone pijanističkog i dirigentskog međuteatra. Interpretacija tekstova i filmova usmjerena je ka dovođenju u odnos pijanističke i dirigentske izvedbe, kao glazbenog teatra u širem smislu, sa spoznajama recentnih teorija izvedbenih umjetnosti. Liminalne zone, odnosno međuteatar u pijanizmu i dirigiranju, definirane su analizom i sintezom tekstova i filmova zaokupljenih pijanistima i dirigentima za vrijeme izvedbe ‒ od izvedbe uživo do medijatizirane izvedbe. Predstavljački i scenski izvedbeni spektar pijanističke i dirigentske izvedbe, očituje se stanjem i ponašanjem pijanista i dirigenta na sceni. Mimika, gesta, utjelovljenje, prezencija, koprezencija, pogled i (psiho)kineza elementi su koje dosadašnje analize izvedbe pijanista i dirigenata zanemaruju. Sam čin izvedbe pijanističkog recitala ili simfonijskog koncerta odvija se u izvedbenom prostoru i vremenu, za publiku, a izvođač manifestira izvedbeno ponašanje što glazbeni događaj čini izvedbenim ‒ pijanističkim i dirigentskim međuteatrom. The aim of this dissertation is to underline and analyse both performative and theatrical elements within the public perfomance of pianists and conductors. The application of the theatrical and perfomance studies analytical tools, most clearly establishes the thesis of the in-between theatre, present within the performance of the pianists and the conductors. The new hypothesis are presenting, determining, analysing and explaining the presence of both theatrical and performative elements, within the public performance of pianists and conductors. The first aspect of the dissertation is searching for the essence of the performative presentation in classical music. The research has evidence-based approach to the performance experiences and poetic definitions, as presented by the most eminent pianists and conductors. Numerous layers of performance definitions are presented and analysed, most commonly associated with the work of Denis Diderot and Konstantin Sergeievich Stanislavski. As the extension of both Diderot and Stanislavski, the applied theatre, integrated within the performance of both pianists and conductors, has been clearly identified and well defined. In order to document and analyse theatrical elements within the performance of pianists and conductors, numerous music reviews of non-musician writers have been also considered as relevant. The works of three most prominent Croatian writers ‒ Branko Gavella, Zvonimir Berković and Nedjeljko Fabrio ‒ have been taken into consideration. The focus was to identify both pianist and conductor as performers and not as reproductive artists only. The important elements being used while having both pianist and conductor identified as performers, primarily are stage presence, embodiment, performance behaviour and gestural score, following their artistic ideas and the individual technical realisation of the music score. Therefore, the meta-technical layer of performance has been detected, presented and analysed. The conclusion of the first aspect of this dissertation is clearly identified performance narrative within the piano recital or symphonic concert, named as the in-between theatre of both pianist and/or conductor. The second aspect of the research is based on interpretation of film scenes of piano recitals and symphony concerts. In order to define the research criteria, the genre and the type of music films are being determined. Firstly, the case studies of piano recitals and symphony concerts presented in fictional films and animated films have been done. The analysed concert scenes were taken from Hollywood made films Carnegie Hall (Edgar G. Ulmer, 1947) and An American in Paris (Vincente Minnelli, 1951), excerpts from Croatian films Borci za Hrvatsku (Fighters for Croatia, 1944) and Koncert (Concert, Branko Belan, 1954), as well as animated films The Cat Concerto (William Hanna and Joseph Barbera, 1947) and Hollywood Bowl (William Hanna and Joseph Barbera, 1950). Secondly, the similar case studies in documentary films have been done with the examples taken from films The Art of Conducting: Great Conductors of the Past (Sue Knussen, 1993) and The Art of Conducting: Legendary Conductors of a Golden Era (Peter R Smith, 1997); The Art of Piano: Great Pianists of the 20th Century (Donald Sturrock, 1999) and The Golden Age of Piano: A Documentary on the Great Pianists of the Twentieth Century (Peter Rosen, 1993); Herbert von Karajan – Maestro for the Screen (Georg Wübbolt, 2008) and Claudio Abbado: Hearing the Silence; Schetches for a Portrait (Paul Smaczny, 2005); Glenn Gould: The Alchemist (Bruno Monsaingeon, 1974), Evgeny Kissin: Gift of Music (Christopher Nupen, 1999) and Hellene Grimaud: Living with wolves (Reiner E. Moritz, 2002). The conclusion of the second aspect of the dissertation is presenting the analysis of the in-between theatre of pianists and conductors, all the way from the concert podium to the film medium, through the analyses of studio recitals and televised concerts.

The aim of this essay is to show how, from the 1950s to early 1970s, arts and technologies evolved side by side owing to the new practices borrowed from the legacy of abstract art. Both in Italy and Croatia, several left-wing scholars wrote on the relations between art and technology as an important factor of social progress. On this basis, it was implied that the leftist ideology had a decisive effect on the new artistic attitudes. These took place in Zagreb during the Nove tendencije exhibitions, held in 1961 and 1963 respectively, where several kinetic and so-called "programmed" artworks were displayed. However, just after the 1965 edition of Nove tendencije, Italian artistic research was changed by the Arte Povera movement in 1967. As a consequence, the gap between "programmed" art the Left increased. Although in Italy such changeover caused a complete break in the relationship between art and technology, in Zagreb the last Tendencije exhibitions, held in 1969 and 1973 respectively, combined the computer-based and conceptual art trends with left-wing radicalism.