II DIO:
Ivan Martinac, Monolog o Splitu (1962), 7'
Vjekoslav Nakić, Poslije potopa (1967), 8'8''
Ante Verzotti, Twist-twist (1962), 3'
Ranko Kursar, Caffe Manon (1967), 9'12''
Dunja Ivanišević, Žemsko (1968), 6'12'
When we are talking about Split Cine Club, we are inevitably returning to the period of the sixties of the last century, when the club became and remained known and recognized. In that period, the second generation of authors appeared. To understand the success of the second generation, we need to look at the effects of the first. The first generation of members of the Split Cine Club (Domić, Bogdanović, Nožica, Kalabris) went creatively beyond then current tendencies of the Yugoslav amateur cinematography. Their activity brought popularization of film art in Split happend, the construction of the infrastructure, the equipment of projection halls and the film laboratory, as well as the recruitment of film amateurs and professional staff. In addition to a cinema and film course, the selected programs at "Stari Grad / Old City" festival were held at the initiative of the founder of the club Mladen Nožić, with Jajčanin, Kečkemet, Biočin, Borčić and Jukić, commenting on them. More than 700 screenings were organized, with estimated number of at least 250.000 visitors. The first generation filmed only four films, of which only one was completed and preserved ("Carnival at the foot of Marjan" by Mate Bogdanović from 1955). At the end of the 50s and early 60s, the club was in crisis. This crisis coincided with the arrival of Ante Verzotti in the club and the return of Ivan Martinac from a study of architecture in Belgrade 1962. Martinac brought an alternative, coherent view of the film as a media, a living organism with its own legitimacy and a unique reflection in its own theoretical discourse. Martinac's influence, role and significance today are confirmed by many club authors from its generation and generation afterwards. Over twenty years he lectured at the film course. Three expressions he used were important in explaining the entire structure of film - intense editing, movie "cardiogram" and "coolness" of the image. Martinac's film observations about the form - the power of editing and content, the quest for metaphysical and lamentations on the purity of frames, enabled other authors to free themselves from the prejudices of conventional film journalism, which then prevailed among the Split cinema amateurs, in favor of poetically and artistically conceived films. Those we the days when concept of the Split School of Films was founded.
