Manzara

Abstract

Manzara filmi Kinaliada’da geri donusum alani oldugu soylenen bir mekandaki canli ve cansiz varliklarin hayati uzerinedir. Film bu mekanda kadrajin icine aldigi ve kaydettigi canli cansiz her seyi ritmik bir kurguyla degisen farkli olcekteki goruntulerle sunar. Filmin kamerasi mekana mumkun mertebe mudahale etmeden buradaki olagan ve siradan akisi kaydetmistir. Kurgu esnasinda ise kamera olceklerinin en kucuk cerceveden en buyuk cerceveye dogru ilerleyerek cekilmis goruntuler uzerinden bir anlati kurulmustur. Farkli olceklerde cekilmis goruntuler filmin baslarinda bir varligi hatta onun oldukca mikro bir detayini gostererek onu etrafindaki diger varliklardan tamamen soyutlamis boylece kadrajdaki varligin ya da nesnenin ne oldugu hakkinda seyircinin bir fikir edinmesi dahi neredeyse imkansiz kilinmistir. Ancak asiri yakin plandan orta cekim ve uzak cekime dogru ilerleyen goruntuler izleyicileri bu kez bu varliklari diger varliklar ve bu mekan ile iliskilendirmesi dogrultusunda yonlendirmistir. Dolayisiyla goruntulerin kaydi esnasinda mekanin ic isleyisine mudahale etmemeye gayret edilmistir ancak kurgu bu surecin tam aksi yonunde ilerlemistir. Kadraj icindeki bir varlik hatta onun asiri yakin plandaki bir detayi once tamamiyla ait oldugu butunden ve mekandan soyutlanmis sonra belirli bir ritim icinde ilerleyen kurgu bu varligi bulundugu mekanin bir parcasi kilmis dolayisiyla bu varliklarin goruntuleri oldukca mudahaleci bir kurgu surecine tabii tutulmuslardir.Film kamerasinin mudahale etmeden kaydetmeye calistigi oldukca rutinlesmis bir geri donusum surecini kurgu asamasinda bozarak ve yeniden kurarak siradan sira disi ve sasirtici yonlerini gostererek canli cansiz enteresan banal alisildik sasirtici ve benzeri bircok zitligin bir arada oldugu bir manzara sunar. Bu tez Manzara filminin cekim esnasinda ve sonrasinda ise kostugu bicimsel stratejileri analiz ederek yonetmenin nasil bir manzara ortaya koymaya calistigi uzerinedir.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. 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. This thesis will analyze what kind of a Landscape is tried to be demonstrated by the director and the pre-production, the production and the post-production processes of the film Landscape.