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Zagreb’s Kajkavian Dialect in Golik’s Film Tko pjeva zlo ne misli

(A Song Dispells Evil Thoughts)

By not getting into a comprehensive examination of the dialog of Golik’s Zagrebers, and by working from an audio recording, the author confirms that Golik, from a filmic standpoint, excellently use the dialect in his film, and that the dialog of his protagonists is an attractive challenge for the linquistic study of the contemporary Zagreb kajkavian dialect.

Golik, through the use of sets, music, traditions, the behavior of his protagonists and the spoken word, strived to accurately portray Zagreb and Zagrebers during the 1930’s. Through the excerpts of dialog, we can recongnize the primary spoken signs and uniqueness of the protagonists (their folkloric, cultural, social and psychological characteristics). Since Golik’s film is a romantic comedy with singing, the sung word is interchanged with the spoken word and, together, with it becomes an element of film expression, supporting the authenticity of the characters in a certain time and space. In an analysis of the character’s speech, the author states that all, with exception of little Perica when he is reading excerpts from his diary, speak in the urban, Zagreb kajkavian dialect well-mixed with elements of the standard language. The Štokavian and kajkavian characteristics are neither mixed consistently nor according to certain rules, and the language and style of the film’s protagonists is determined by their education, occupation, social status and world view.

With regard to the linguistic characteristics, the author points out the numerous signs that are connected with or differing from spoken kajkavian that show that the protagonists of the film fable are not a homogenous speaking whole, and that we are dealing with miniscule differences that do not disturb the linguistic, atmospheric, cultural and social harmony.

Stjepko Težak

Some Other Sources of Film Topology
The Film Version of Vojnović’s Drama Gospođa sa suncokretom
The Film Music of Ivo Tijardović
David Cronenberg — Between the Cult and the Occultism

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