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Hectorović’s Epic as a Template for Trenc’s Romantic Film Ribanje i ribarsko prigovaranje
Dubravka Brezak Stamać
Sažetak
The paper involves three levels of intertextuality on how the epic Ribanje I ribarsko prigovaranje ( Fishing and Fishermen’s Complaints) served as a template for both the film and the musical score. The first level of intertextuality – diverse poetic genres in the epic Ribanje i ribarsko prigovaranje by the Renaissance poet and Hvar nobleman Petar Hektorović. The epic intertwines Hektorović’s epistolary letter and dedication to his friend
Bartučević; documentary images of a three-day-journey from Stari Grad on the island of
Hvar to the islands of Brač and Šolta and back to Stari Grad; and a fisherman’s eclogue
as the dominant Renaissance genre. The second level of intertextuality involves Milan Trenc’s screenplay based on Hektorović’s epic, the line between literary template and original work, the screenplay as a cinematic literary text, partly a biographical film about
Hektorović. The third level of intertextuality between epic and film includes Igor Paro’s
musical score, which is an important segment of the interpretative basis and atmosphere
in the film. Hektorović recorded in the epic a musical notation of songs sung by fishermen
Nikola and Paskoje. The music for the lute is composed and performed by Igor Paro.
The film Ribanje i ribarsko prigovaranje was shot in 2018. It went somewhat unnoticed
despite the awards it received, due to the special measures in place during the coronavirus
pandemic. It premiered at the Pula Film Festival in 2020 and received the Golden Arena for
Best Actor (Rade Šerbedžija), the Golden Arena for Best Supporting Actor (Leon Lučev)
and the Golden Arena for Music (Igor Paro).
Ključne riječi
Renaissance epic Ribanje i ribarsko prigovaranje; Fishing and Fishermen’s Complaints; Renaissance music; intertextuality; film adaptation
Hrčak ID:
347157
URI
Datum izdavanja:
6.5.2026.
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