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Split Film School 60 Godina Kino Kluba Split 60 Years of Cine Club Split 1952 2012 ⁄1 ⁄2 Splitska škola filma Split Film School 60 godina Kino kluba Split 60 Years of Cine Club Split ⁄3 IMPRESUM /IMPRINT Izdavač / Publisher: Kino klub Split / Cine Club Split u suradnji s Hrvatskim filmskim savezom/ in co–operation with the Croatian Film Association Kino klub Split Savska bb, Split www.kinoklubsplit.hr www.hfs.hr Za izdavača / For the publisher: Sunčica Fradelić Urednica / Editor: Sunčica Fradelić Redakcija / Editorial board: Boris Poljak, Radomir Đurđević, Darko Duilo, Tonći Gaćina, Vedran Maračić, Duje Bezina Splitska škola filma / Split Film School 60 godina Kino kluba Split / 60 Years of Cine Club Split Lektura / Proofreading: Andrijana Grgičević Prijevod / Translation: Iva Štekar Cergna Oblikovanje naslovnice, grafička oprema / Cover design, graphic design: Hrvoje Hiršl Tisak / Print: Intergrafika Naklada / Edition: 500 Tehnička realizacija DVD–a / Technical realization of the DVD: Boris Poljak, Duje Bezina, Tonći Gaćina, Vedran Maračić Zahvala / Thanks:Igor Lušić, Marijo Bašić, Martina Bilan, Jasna Čagalj, Dino Paškov, Branko Karabatić, Anđela Vidić Prosinac, 2012. / December 2012 Izdavanje ove knjige omogućeno je financijskom potporom Ministarstva kulture Republike Hrvatske, Gradskog ureda za obrazovanje, kulturu i šport grada Splita i Hrvatskog audiovizualnog centra / This book has been published with the financial aid of the Ministry of Culture of the Republic of Croatia, the City Office for Education, Culture and Sports of the City of Split and the Croatian Audiovisual Centre. ISBN 978-953-57428-0-7 Branka Benčić SVE JE POVEZANO EVERYTHING IS CONNECTED 1–30 Kontekst Context 1–30 Bilješke iz povijesnog okvira Notes from history 1–30 Amaterski film Amateur film 1–30 Kinoklubovi / Autori / Manifestacije Cinema clubs / Authors / Manifestations 1–30 Kino klub Zagreb Zagreb Cinema Club 1–30 Kino klub Split Cine Club Split 1–30 Kino klub Beograd Belgrade Cinema Club SADRŽAJ CONTENT 1–30 Manifestacije Manifestations 1–30 Veze s drugim umjetnostima / medijske prakse – "sve je povezano" Connections to other arts / media practices – "everything is connected" 1–30 Situacija / Rekontekstualizacija / Rekonstrukcija Situation / Re–contextualization / Reconstruction Diana Nenadić "SPLITSKA ŠKOLA" IZMEĐU KLUPSKE I OSOBNIH MITOLOGIJA "SPLIT SCHOOL" BETWEEN CLUB AND PERSONAL MYTHOLOGY 1–30 Druga generacija ili "splitska škola" The Second Generation or "Split School" 1–30 Mozak "splitske škole" – Ivan Martinac The brain of the "Split School" – Ivan Martinac 1–30 "Udovi" i "osjetila" kluba – Zafranović, Nakić, Verzotti... "Limbs" and "senses" of the club – Zafranović, Nakić, Verzotti… 1–30 Alternacije "treće generacije" Alternations of the "third generation" 1–30 Četvrta – "anything goes" – generacija The fourth – "anything goes" generation 1–30 Epilog: kraj mitologije, početak arheologije? Epilogue: end of mythology, beginning of archaeology? Adriana Perojević 60 GODINA "ĆAKULE" O FILMU 60 YEARS OF "CHITCHAT" ON FILM 1–30 Foto–kino klub Adolfa Doležala Photo Cine–Club Adolf Doležal 1–30 Kino klub Split Cine Club Split SADRŽAJ CONTENT 1–30 I. generacija: '52. – '62. 1st generation: '52 – '62 1–30 II. generacija: '62. – '72. 2nd generation: '62 – '72 1–30 III. generacija: '72. – '82. 3rd generation: '72 – '82 1–30 Sabor alternativnog filma Alternative Film Meeting 1–30 IV. generacija: '82. – '92. 4th generation: '82 – '92 1–30 Ratne godine i novi mediji '92. – '02. The war years and The New Media '92 – '02 1–30 60 godina "ćakule" o filmu – zaključak 60 years of chit chat on film – conclusion 8 SPLITSKA ŠKOLA FILMA 60 GODINA KINO KLU- ⁄ BA SPLIT SPLIT FILM SCHOOL 60 YEARS OF CINE- MA CLUB SPLIT SPLITSKA ŠKOLA FILMA 60 GODINA KINO KLU- BA SPLIT 9 SPLIT FILM SCHOOL 60 YEARS OF CINE- MA CLUB ⁄ SPLIT Predgovor Preface Većina nas koji smo djelovali u klubu ima svoju Most of us who were active at the Club have priču o njemu. Većina nas imala je tamo svoja jutra, večeri, a story about it. Most of us have had their mornings, osobne trenutke zanosa i topline, frustracije i tuge. I vje- evenings, personal moments of enthusiasm, warmth, rujem da svako od nas misli kako najbolje zna što je klub. frustration and sadness at the Club. I believe that each Klupska je priča, osim od suhoparnih činjenica, čak i više one of us thinks they know better what the Club is. The sačinjena od intimnih stanja, refleksija i odnosa ljudi koji story of the Club is much more than just the dry facts, it is su kroz njega prošli. Naših potraga i čežnji, autorskih sen- made of intimate states, contemplations and relations of zibiliteta, poleta i posustajanja, intenzivnih druženja, pi- people that were part of it. Our quests and desires, auteur janih i trezvenih razgovora, tulumarenja, spletki i prepirki, sensibilities, enthusiasms and falterings, intense friend- rasprava i svađa. Teško je pogoditi čiji je dojam točniji i čija ships, drunken and sober conversations, parties, intrigues, je istina vrijednija. quarrels, discussions and arguments. It is hard to estab- Zato su ovi tekstovi samo kamenčići mozaika, i lish whose impression is more accurate and whose truth koliko god naša namjera da rasvijetlimo sliku, otkrivajući is more valuable. ih dio po dio, bila ambiciozna, ta slika ne može, a možda That is why these texts are only pieces of a mosa- i ne treba biti do kraja otkrivena. Osobne priče i putevi ic and no matter how ambitious our intention might be to pripadaju sektoru nevidljivih konstelacija, puno širem shed light on the big picture by revealing bits and pieces, kontekstu vremena i prostora, i uvijek će ostati neka neis- this picture cannot and perhaps should not be revealed kaziva uspomena, zaboravljeno sjećanje, neka nepravedno completely. Personal stories and paths belong to the area zapostavljena činjenica i film, ili neka namjerno prešućena of invisible constellations, to a much wider context of time misao ili zgoda. Kao što svi znamo – selekcija je pomalo and space and will always remain as some kind of unsaid nemilosrdna i preživi ono što preživi, bez tajni i velike memory, forgotten remembrance, some unjustly neglected mudrosti. A od onoga što je preživjelo, do čega smo uspjeli fact or film, or some deliberately unspoken thought or doći, koliko nas je slučaj služio, vodio vlastiti senzibilitet, anecdote. As we all know – selection is merciless, leaving znanje, intuicija i savjest, sastavljena je ova publikacija. only survivors to live on, with no big mysteries or wisdom Mada kinoklubovi povijesno i ideološki teže involved. This publication is indeed made of what has autorskom ustroju, ovu poziciju treba razjasniti. U odnosu survived, what we have managed to find, sometimes by na svoje prethodnike, suvremeni autori i autorice nalaze chance, guided by our own sensibility, knowledge, intuition se u drugoj i tehnološki prilično drugačijoj stvarnosti. and conscience. Poznajemo nekadašnju magičnu jednostavnost filmskih Although the cine–clubs have a historical and kamera i projektora. Upoznati smo s procesom razvijanja ideological tendency towards an auteur structure, this filmske vrpce i svim eksperimentima koji pripadaju ovom has to be explained. Compared to their predecessors, postupku. Većini nas su jasni individualni pristupi elemen- contemporary authors live in another and technologi- tarnim oblicima montaže i fizičkog reza. Osjećamo film cally quite different reality. We know the magic simplicity kao medij i manje–više bliska nam je većina istraživanja of film cameras and projectors. We are familiar with the koja su unutar zakonitosti filmske trake bila moguća. process of developing film tape and all the experiments Čak smo odlučili ponovo pokrenuti mali filmski labarato- that are part of this process. Most of us understand the rij za 8mm film. Na koncu, jedan od razloga zbog kojega individual approaches to elementary forms of editing and sve ovo radimo je želja da bolje upoznamo i razumijemo the physical cut. We feel film as a medium and are more or vlastitu prošlost i tradiciju. Svjesni smo da kvaliteta less close to most of the research and exploration within sadržaja ponajviše ovisi o talentu i sposobnostima autorâ. the possibilities of the film tape. We even decided to set Međutim, izbor medija danas sukladan je senzibilitetu up a small laboratory for the 8mm film again. In the end, autora i, usudim se napisati – stilu. one of the reasons we do all this is the desire to have a S druge strane, digitalna tehnologija još uvijek je better understanding of our past and our tradition. We are u razvoju, a film je s tim praktički završio – ne kao poten- conscious of the fact that the quality of contents depends cijalno sredstvo izražavanja, već kao medij čije su fizičke mostly on the talent and skill of the authors. However, the granice ispitane, poznate i ocrtane, što može imati svoje choice of the media today is in keeping with the sensibility prednosti. Tradicionalni filmski jezik i njegove inačice of the author and, I dare say – style. ⁄10 ⁄ PREDGOVOR moguće je koristiti u digitalnim tehnologijama, ali eksperi- Moreover, digital technology is still evolving ment podrazumijeva čitav raspon drugačijih i specifičnih while film is practically at a standstill – not as a potential znanja. Inovativno korištenje suvremenih tehnologija means of expression but as a medium whose physical redefinira poznate granice narativnih kodova, struktura boundaries have been explored, learned and mapped, i remedijaciju uvriježenih formi filmskog izražavanja, što which, on the other hand, can have its advantages. The rezultira ekspanzijom stilova
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