Intermedialnost

Magistrsko delo se osredotoča na intermedialno razmerje med uglasbenim besedilom in animiranim filmom, in sicer na primeru Čikorje an\u27 kafe. To je kantavtorska pesem Iztoka Mlakarja, ki je bila podlaga istoimenskemu kratkemu animiranemu filmu Dušana Kastelica. Mlakarjeva prej pripovedovana kakor péta pesem ni klasičen primer literaturegre za besedno umetnost v ozkem stiku z glasbo, ki je ravno tako uporabljena kot izrazno sredstvo. Vrstno bi jo lahko umestili med šanson in popevko. Mlakarjeva izvedba se na vsebinski ravni in v zvočnem smislu ohranja v mediju kratkega animiranega filma, zato lahko govorimo o soobstoju dveh medijev znotraj istega umetniškega dela (intermedialnost v ožjem smislu). Obenem pa se besedilo Mlakarjeve pesmi ob prenosu v novi medij razširja vizualno (in posledično kontekstualno). O cikoriji (kavnem nadomestku) zdaj ne samo poslušamo, ampak jo tudi vidimo. Kakšno, kdaj, kje, kolikokrat in kakó, je izbral Kastelic sam, zato moremo prenos pesmi v gibljivo filmsko sliko razumeti tudi kot samostojno umetniško delo, uresničitev režiserjeve vizije. Svojo vsebino in obliko je torej kantavtorska pesem na novo vzpostavila tako, da je izrabila možnosti, ki jih ponuja t. i. ciljni medij, v našem primeru kratki animirani film (intermedialnost v širšem smislu). Zanimalo nas je zlasti, kaj se v spremenjenih medijskotehnoloških pogojih dogaja s kantavtorsko pesmijo oz. kako ciljni medij, tj. kratki animirani film, ki prinaša spremenjene medialne pogoje, vpliva na izraznost (načine predstavljanja) in vsebino izhodiščnega medijskega izdelka, tj. kantavtorske pesmi.This master\u27s thesis focuses on the intermedial relation between lyrics set to music and an animated film on the example of Čikorja an\u27 kafe [Chicory \u27n\u27 Coffee]. The latter is a song by singer-songwriter Iztok Mlakar, on which the animated short film of the same name, directed by Dušan Kastelic, is based. Mlakar\u27s song, more narrated than sung, is not a classic example of literatureit is verbal art closely linked with music, which has likewise been used as a means of expression. Genre-wise, it could be categorised between a chanson and a pop song. Mlakar\u27s performance has been preserved in the medium of an animated short film, both content-wise and acoustically, which is why one could speak of a coexistence of two media within the same work of art (intermediality in the narrower sense). Simultaneously, the lyrics of Mlakar\u27s song are being expanded visually (and consequently contextually) by being transferred to a new medium. Now we are not only hearing about chicory (a coffee substitute), but seeing it too. Kastelic himself decided in what form it would appear, as well as when, where, how many times and in what way, which is why the transfer of the song to a moving image can be seen as an independent work of art, a realisation of the director\u27s vision. The singer-songwriter song has therefore established its content and form anew by taking advantage of the possibilities offered by the so-called target medium, in this case the animated short film (intermediality in the broader sense). The main point of interest was what happens to a singer-songwriter song under altered media and technology conditions or how the target medium, i.e. the animated short film which brings about altered medial conditions, influences the expressiveness (modes of presentation) and contents of the source media product, i.e. the singer-songwriter song