intermediality
#9 The intermediality is breaking the genre limits between the various texts, merging the experiences from the various media and arts. Pavao Pavlichic (1988) claims that the intermediality is “a mean/procedure with which the structures and materials inherent for some medium are transferred into other media, and at least the one of them is an art one”. With that, the enrichment of the sense or of the expression attractiveness is achieved. The real intermedia relation, by Pavlichic, is when the different art media will preserve its status, and in the same time they engage into some meaningful relation, and not if the one is in service of the another. The texts that belong to different media should be read simultaneously. The Macedonian postmodern films constitute intermedia relations with the music, video art, comics, then with the animated films for children, documentary films, video art and the television. In Maklabas, the numerous sequences are realized as a video art, whose main aesthetic goal is to visualize the colorful world under the influence of the hallucinogenic drugs, although there is a dilemma is it a drugged world or the alien world or some parallel dimension. As completely special segments there are the (documentary-filmed) sequences of the public social meetings, protests, art exhibitions and concerts; those can be considered both for an amateur or documentary film sequences. In Goodbye to the 20th Century, the comic-book matrix is full-time present in the whole film, and what imposes most, is the transforming of the tattoo drawings into the film diegesis, the little scene when the children toys are caught in one sequence, a detail that can be treated as a mini-puppeteer film, and the quiz-show interventions are like so, either. The musical pieces in the films Goodbye to the 20th Century, Maklabas, Light Gray and Before the Rain can be treated as music video clips, because the music there doesn’t has only a standard role of the functional element in the film semiosis, but they are completely separated wholes: the John Ilija Appelgreen and the saloon-singer in Light Gray, the colorful introduction of Macedonia by the band Anastasia in Before the Rain, the punk and opera tracks in Goodbye of the 20th Century and the various music interventions in Maklabas.