Private Project

LANDSCAPE

The film Landscape narrates the animate and inanimate beings in a place in Kinaliada which is said to be a recycling center. The film shows every animate and inanimate beings through a rhythmic editing. The camera avoids as much as possible to intervene the flow of the location, recording only the regular flow there. During the editing, a narration that is initiated by smaller camera angles and continues with the bigger ones is established.

  • Cengizhan Uluocak
    Director
  • Cengizhan Uluocak
    Writer
  • Cengizhan Uluocak
    Producer
  • Deniz Topluoğlu
    Director Of Photography
  • Caner Dolgun
    Sound Operator
  • Bahar Taş
    Production Coordinator
  • Safarova Durna
    Assistant Of Director
  • Ersin Uzun
    Focus Puller
  • Dilek Altun
    Art Director
  • Cengizhan Uluocak
    Online Editing
  • Oğuzhan Dursun
    English Subtitle Translator
  • Yeşim Ustaoğlu
    Advisor
  • Defne Tüzün
    Offical Advisor
  • Merhaba Filmler
    Production Company
  • Project Title (Original Language):
    MANZARA
  • Project Type:
    Documentary, Experimental, Short
  • Genres:
    Documentary, experimental, fiction, narrative, lifestyle
  • Runtime:
    8 minutes 49 seconds
  • Completion Date:
    December 22, 2016
  • Production Budget:
    3,000 USD
  • Country of Origin:
    Turkey
  • Country of Filming:
    Turkey
  • Language:
    Turkish
  • Shooting Format:
    digital,
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Cengizhan Uluocak

Short Movies of Director

2011 - The Murder Of The Pen
2013 - The Ones Who Don't Wanna Have Bath
2014 - Chain
2015 - Ballerina
2015 - The Thing
2016 - Landscape
2016 - SSSSSHT!

Add Director Biography
Director Statement

The opening scenes of the film shows abstracts in extreme close up to complicate the way of spectators thinking about the film. However, spectators could give some meaning and find some relationship between the location and the other objects when they see these footages in medium and long shots. Even if there was not any intervention on the footages when they were being shot, the editing had a reverse method in the process of the film. At first, editing shows abstract footages in extreme close up and then when the spectators see the medium and long shots within a rhythm the editing connects every shot with each other. This method demonstrates us an interventionist strategy.

In the editing process the film deconstructs and then reconstructs the shots of the routine of the recycle center which have been shot without any intervention in the first place. Through this way, it shows a landscape where many oppositions such as ordinary, extraordinary, usual, interesting, animate and inanimate beings exist together.