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Iskat 

(2006) 

by Onur Senturk is a film which represents limited time. Materialized with power of sound and images. Contains no story in it. Sound by Mert Kızılay.

Streaming Festival: What does the title Iskat mean?
Onur Senturk: There is different meanings in different languages about the title. However Iskat is an acronym of a common slang word in Turkish language. Which is originally Iskata means once upon a time a particular object is used somehow now is a wreckage, abandoned unservicable object.
Besides, Iskat was written on train before we shot. So, We decided to use it as a title.

SF: How did you get to making this film?
OS: I love photographing abandoned objects. One day I came across with Iskat. It was beautiful and scary at the same time. Then I told my friends about it. We went altogether to film it.
I find here very suitable to give an additional info about the project. Iskat is not my personal work. Everybody in the credits section participated their on way. But, mostly I shaped the visual side of the project.

SF: The sound is very specific in this film, how did you choose/make the sound?
OS: It was an interesting decision to fit electronic, computer aided music on a footage shot with a handycam. At first I think it will be more suitable a music which made with actual instruments. Than we changed our idea to make it with computer aided music.
This decision was mostly related with our technical equipment, knowledge and several other problems.
Sound is a work done by my friend Mert Kizilay. We shaped the track together to blend with soul of the film.

SF: How would you describe the relation between the sound and images?
OS: We tried to maintain a balance while producing the film. We shaped music and images for each other. For example we cut visuals for audio. We pay attention to music to match visuals.

SF: How did you make this film, with a script or storyboard or did you film intuitively and created it during the editing process?
OS: We didn’t do any storyboarding or preplanning. Everything happened when we were shooting. Then we shaped the film in editing.

SF: Could you tell us something about the rhythm in your film? How do accomplish the rhythm of balance?
OS: We tried footages together. We kept some suitable ones. We eliminated some of them. It was like game. But we want there to be chaos and inertia.

 

Source: Streaming Festival

 

 

Iskat, trains, editing, people, Film

Reading

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Film as Film: Formal Experiment in Film 1910-1975 (1979) is a catalogue of an exhibition held at the Hayward Gallery in London from 3 May until 17 June 1979 on rare, essential and controversial avant-garde film history.

Links

 

SEE ALSO

DJ Hell: Teufelswerk Tourvisuals (2008) - In support of DJ Hell's new album Teufelswerk Lichtfront used an impressively huge 3D mask as a projection screen for the visuals. (Vimeo)

VJing (2010) is a reproduction of the Wikipedia article VJing, based upon the revision of July 25th 2010 and was produced as a physical outcome of the wiki-sprint, a collaborative writing workshop that was held 2010 in the frame of Mapping Festival, Geneva. (Greyscale Press)

We Have Band: Divisive (2010) by French directors Jul & Mat for We Have Band. The three members of We Have Band create letters with their bodies to spell out words, that make up a key lyric in the song.

Antonin De Bemels (*1975) discovered video art and experimental cinema at Ecole de Recherche Graphique, from 1993 to 1997. His main areas of interest are movement and the human body, and the dynamic relationship between sounds and images. Since 1997, he has made more than 15 short videos that were screened all around the world. He also creates video backgrounds and soundtracks for contemporary dance pieces, and occasionally performs as a VJ. (Videomedeja)

The Chemical Brothers: Star Guitar (2002), directed by Michel Gondry, features what looks like a continuous shot filmed from the window of a speeding train passing through towns and countryside; however, the buildings and objects passing by appear exactly in time with the various beats and musical elements of the track. (Wikipedia)