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BAK YEŞİL YEŞİL: EKOSİNEMA KURAMI ÜZERİNE

Yıl 2015, Cilt: 6 Sayı: 2, 7 - 25, 15.10.2015
https://doi.org/10.32001/sinecine.540222

Öz








Endüstri Devrimi’nin ürünü olarak sinemanın çevreyle ilikisi, ekolojik duyarlılık yaratma
ve do
aya duyarlı bir forma bürünme potansiyelleri verimli bir tartıma alanı açmaktadır.
Bu çalı
ma, ilk meyvelerini edebiyat aratırmaları içerisinde veren ekoeletiriden yola çıkıp,
ekoloji ve sinema birlikteli
inin olanaklarını, ekosinema kuramının sunduu çerçeveyi,
2010 sonrasına tarihlenen güncel ara
tırmalar ııında masaya yatırmayı amaçlıyor. Taze bir
ekolojik pratik mahiyetindeki Solar Cinema’yı irdeleyen bu yazıda sunulan temel argüman,
Ekosinema’nın farklı kanallarla sundu
u hareketli görüntünün, yansıtıldıı yüzeyden baımsız
dü
ünülemeyeceidir. Yalnız yeillenmiüretim pratikleri, ekolojik açıdan hassas film metni
ve hareketli görüntü de
il, ekolojik filmlerle görünür kılınan hikâyenin yansıtıldıı yüzeyin,
sinema ekranının mekânı da ihmal edilemeyecek bir ehemmiyet arz etmektedir. Ekoele
tirel
dü
ünceyi Türkiye corafyasındaki sinema çalımalarıyla ilikilendiren bu çabanın, toplumsal
ya
amda çeitli sivil toplum kuruluları ve alternatif medya organları tarafından ekolojik bilincin
vurgulanmasına paralel olarak, üretici ve entelektüel açıdan besleyici bir hareket noktası tesis
edece
i umulmaktadır. 




Kaynakça

  • Adams, W. M. & Mulligan, M. (2003). Decolonizing Nature: Strategies for Conservation in a Post-colonial Era. London: Earthscan.
  • Alaimo, S. (2010). Bodily Natures: Science, Environment, and the Material Self. Bloomington: University of Indiana Press.
  • Anderson, L., Slovic, S. & O’Grady, J.P. (Eds.) (1999). Literature and the Environment: A Reader on Nature and Culture. New York: Longman.
  • Barry, J. (1999). Rethinking Green Politics: Nature, Virtue and Progress. London: Sage.
  • Benning, J. (Yönetmen). (2001). Sogobi [Film]. ABD.
  • Benton, L. M. & Short, J. R. (1999). Environmental Discourse and Practice. Oxford: Blackwell.
  • Bookchin, M. (1986). Post-Scarcity Anarchism. Montreal: Black Rose Books.
  • Bora, T. (Ed.). (1988). Yeşiller ve Sosyalizm. İstanbul: İletişim.
  • Bozak, N. (2012). The Cinematic Footprint: Lights, Camera, Natural Resources. Newark, NJ: Rutgers University Press.
  • Brereton, P. (2005). Hollywood Utopia: Ecology in Contemporary American Cinema. Bristol: Intellect.
  • Burkett, P. (2006). Marxism and Ecological Economics: Toward a Red and Green Political Economy. Leiden: Brill.
  • Carmichael, D. A. (Ed.). (2006). The Landscape of Hollywood Westerns: Ecocriticism in an American Film Genre. Salt Lake: University of Utah Press.
  • Chris, C. (2006).Watching Wildlife. Minneapolis: University of Minnesota Press.
  • Corbett, C. & Turco, R. (2006). Sustainability in the Motion Picture Industry. University of California Institute of the Environment, Sacramento: State of California IntegratedWaste Management Board, http://www.environment.ucla.edu/perch/resources/mpisreport.pdf.
  • Costner, K. (Yönetmen). (1990). Dances with Wolves [Film]. ABD: Tig Productions.
  • Crosby, A. W. (1989). Ecological Imperialism: The Overseas Migration of Western Europeans as a Biological Phenomenon. D. Worster (Ed.), The Ends of the Earth: Perspectives on Modern Environmental History (s. 103-117). Cambridge: Cambridge University Press.
  • Cubitt, S. (2005). EcoMedia. New York: Rodopi.
  • Curry, P. (2006). Ecological Ethics: An Introduction. Cambridge: Polity Press.
  • Dal, B. & Kabadayı, B. (Yönetmen). (2013). Boğaziçi Balıkları [Film]. Türkiye: Tarçın Film.
  • Davidson, T. K., Park, O. & Shields, R. (Eds.). (2011). Ecologies of Affect: Placing Nostalgia, Fear, and Hope. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Davion, V. (1994). Is Ecofeminism Feminist?. K. J. Warren (Ed.), Ecological Feminism (s. 8-28). New York: Routledge.
  • Dobson, A. & Lucardie, P. (Eds.). (1993). The Politics of Nature: Explorations in Green Political Theory. New York: Routledge.
  • Drazin, C. (2014). The Origin, Practice and Meaning of the Free Cinema Manifesto. Journal of British Cinema and Television, 11(2-3), 294-311.
  • Frammartino, M. (Yönetmen). (2011). Le Quattro Volte [Film]. İtalya: Invisible Film.
  • Gaard, G. (Ed.). (1993). Ecofeminism: Women, Animals, Nature. Philadelphia: Temple University Press.
  • Gaard, G. (2010). New Directionsfor Ecofeminism. Interdisciplinary Studies in Literature and Environment, 17(4), 643-665.
  • Galt, R. & Schoonover, K. (Ed.). (2010). Global Art Cinema: New Theories and Histories. Cape Town: Oxford University Press.
  • Gandy M.(2012). Queer Ecology: Nature, Sexuality, and Heterotopic Alliances. Environment and Planning D: Society and Space,30(4), 727- 747.
  • Garrard, G. (2004). Ecocriticism. New York: Routledge.
  • Genz, S. & Brabon, B. A. (2009). Postfeminism: Cultural Texts and Theories. Edinburgh: Edinburgh University Press.
  • Getino, O. & Solanas, F. (1969). Toward a Third Cinema. Tricontinental, 14. https://ufsinfronteradotcom. les.wordpress.com/2011/05/tercer- cine-getino-solonas-19691.pdf.
  • Guha, R. (2000). Environmentalism: A Global History. New York: Longman.
  • Gustafsson, T. & Kaapa, P. (Eds.). (2013). Transnational Ecocinema: Film Culture in an Era of Ecological Transformation. Chicago: The University of Chicago Press.
  • Haenn, N. & Wilk, R. R. (Eds.). (2006). The Environment in Anthropology: A Reader in Ecology, Culture, and Sustainable Living. New York: New York University Press.
  • Haraway, D. (1989). Primate Visions: Gender, Race, and Nature in the World of Modern Science. New York: Routledge.
  • Haraway, D. (1991). Simians, Cyborgs and Women: The Reinvention of Nature. New York: Routledge.
  • Haraway, D. (2008).When Species Meet. Minneapolis: University of Minnesota Press.
  • Hochman, J. (1998). Green Cultural Studies: Nature in Film, Novel and Theory. Moscow, ID: University of Idaho Press.
  • Hovardas, T. (2012). A Critical Reading of Ecocentrism and Its Meta-Scienti c Use of Ecology: Instrumental Versus Emancipatory Approaches in Environmental Education and Ecology Education. Sci. & Educ. http://www.researchgate.net/pro le/Tasos_Hovardas/ publication/257662472_A_Critical_Reading_of_Ecocentrism_and_Its_ Meta-Scienti c_Use_of_Ecology_Instrumental_Versus_Emancipatory_ Approaches_in_Environmental_Education_and_Ecology_Education/ links/0fcfd508139f6bae89000000.pdf
  • Huggan, G. & Tiffin, H. (2010). Postcolonial Ecocriticism: Literature, Animals, Environment. New York: Routledge.
  • Hughes, J. (2000). Ecology and Historical Materialism. Madrid: Cambridge University Press.
  • Huhndorf, S. (2009). Mapping the Americas: The Transnational Politics of Contemporary Native Culture. Ithica, NY: Cornell UniversityPress.
  • Hutton, P. (Yönetmen). (1996). Study of a River [Film]. ABD.
  • Hutton, P. (Yönetmen). (2000). Time and Tide[Film]. ABD.
  • Ingram, D. (2000). Green Screen: Environmentalism and Hollywood Cinema. Exeter: University of Exeter Press.
  • Ivakhiv, A. J. (2008). Green Film Criticism and Its Futures. Interdisciplinary Studies in Literature and Environment, 15(2), 1-27. Ivakhiv, A. J. (2013). Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo, ON: Wilfrid Laurier University Press.
  • Kitchen, D. (Yönetmen). (2001). Wot the Ancient Sod [Film]. ABD.
  • Koch, G., Pantenburg, V. & Rothöhler, S. (Eds.). (2012). Screen Dynamics: Mapping the Borders of Cinema. Wien: SYNEMA.
  • Kortenkamp, K. V. & Moore, C. F. (2001). Ecocentrism and Anthropocentrism: Moral Reasoning about Ecological Commons Dilemmas. Journal of Environmental Psychology, 21, 261–272.
  • Kovács, A. B. (2007). Screening Modernism: European Art Cinema, 1950-1980. Chicago: Chicago University Press.
  • Larsen, E. (2007). “To See Things for the First Time”: Before and After Ecocriticism. Journal of Literary Studies, 23(4), 341-373.
  • Lemmer, E. (2007). Ecocriticism. Journal of Literary Studies, 23(3), 223-227.
  • Leonard, L. & Barry, J. (Eds.). (2009). The Transition to Sustainable Living and Practice. Bingley: Emerald.
  • Levin, J. (1999). Forum on Literatures of the Environment. PMLA, 114(5), 1097-1098.
  • Lu, S. & Jiayan, M. (Eds.). (2010). Chinese Ecocinema: In the Age of Environmental Challenge. Seattle: University of Washington Press.
  • MacDonald, S. (2001). The Garden in the Machine: A Field Guide to Independent Films about Place. Berkeley: University of California Press.
  • MacDonald, S. (2004). Toward an Eco-Cinema.Interdisciplinary Studies in Literature and Environment, 11(2), 107-132.
  • MacDonald, S. (2013). The Ecocinema Experience. S. Rust, S. Monani & S. Cubitt (Eds.), Ecocinema Theory and Practice (s. 17-42). Londra: Routledge.
  • Marshall, I. (1994).The Ecocritical Heritage.http://www.asle.umn.edu/. Erişim tarihi 27.06.2007.
  • Mason, T. V. (2013). Ornithologies of Desire: Ecocritical Essays, Avian Poetics, and Don McKay. Waterloo, Ontario: Wilfried Laurier University Press.
  • Mazel, D. (Ed.).(2001). A Century of Early Ecocriticism. Athens, Georgia: Georgia University Press.
  • Miller, T. &Maxwell, R. (2008). E-Waste: Elephant in theLiving Room. Flow TV, 9(3).http:// owtv.org/2008/12/e-waste-elephant-in-the-living- room-richard-maxwell-queens-college-cuny-toby-miller-uc-riverside/.
  • Miller, T. & Maxwell, R. (2012).Greening the Media. Oxford: Oxford University Press.
  • Mitman, G. (2009). Reel Nature: America’s Romance with Wildlife on Film. Cambridge, MA: Harvard University Press.
  • Mortimer-Sandilands, C. & Erickson, B. (Eds.). (2010). Queer Ecologies: Sex, Nature, Politics, Desire. Bloomington: Indiana University Press.
  • Morton, T. (2010). Queer Ecology.PMLA, 125(2), 273-282.
  • Murray, R. I. & Heuman, J. K. (2009). Ecology and Popular Film: Cinema on the Edge. Albany: State University of New York Press. Naess, A. (1984). Intuition, Intrinsic Value and Deep Ecology. The Ecologist, 14(5,6), 201-203.
  • Naess, A. (1985). The World of Concrete Contents. Inquiry: An Interdisciplinary Journal of Philosophy and the Social Sciences, 28, 417-428.
  • Naess, A. (1986). The Deep Ecology Movement: Some Philosophical Aspects. Philosophical Inquiry, 8, 10-31.
  • Nhanenge, J. (2011). Ecofeminism: Towards Integrating the Concerns of Women, Poor People, and Nature into Development. Maryland: University Press of America.
  • O’Sullivan, E. V. & Taylor, M. M. (Eds.). (2004). Learning Toward an Ecological Consciousness: Selected Transformative Practices. New York: Palgrave Macmillan.
  • Pepper, D. (1993). Eco-Socialism: From Deep Ecology to Social Justice. London: Routledge.
  • Piper, L. & Szabo-Jones, L. (Eds.). (2015). Sustaining the West: Cultural Responses to Canadian Environments. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Ponting, C. (2012). Dünyanın Yeşil Tarihi: Çevre ve Büyük Uygarlıkların Çöküşü (A. Başcı, Çev.). İstanbul: Sabancı Üniversitesi.
  • Potter, W. (2011). Green is the New Red: An Insider’s Account of a Social Movement Under Siege. San Francisco: City Lights Books.
  • Rouch, J. (2003). Ciné-Ethnography (S. Feld, Çev.). Minneapolis: University of Minnesota Press.
  • Rust, S., Monani, S. & Cubitt, S. (Eds.). (2012). Ecocinema Theory and Practice. Londra: Routledge.
  • Salleh, A. (1984). Deeper than Deep Ecology: The Ecofeminist Connection. Environmental Ethics, 6(4), 335-341.
  • Soderbergh, S. (Yönetmen). (2000). Erin Brockovich [Film]. ABD: Universal Pictures.
  • Spielberg, S. (Yönetmen). (1975). Jaws [Film]. ABD: Zanuck/Brown Productions.
  • Staiger, J. (2000).Perverse Spectators: The Practices of Film Reception. New York: New York University Press.
  • Staiger, J. (2005). Media Reception Studies. New York: New York University Press.
  • Sturgeon, N. (2009). Environmentalism in Popular Culture: Gender, Race, Sexuality, and the Politics of the Natural. Tucson: University of Arizona Press.
  • Taylor, B.(Ed.). (2013). Avatar and Nature Spirituality. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Toke, D. (2000). Green Politics and Neoliberalism. London: McMillan Press.
  • Uhl, C. (2013). Developing Ecological Consciousness: The End of Separation. Maryland: Rowman & Little eld.
  • Vivanco, L. (2004). The Work of Environmentalism in the Age of Televisual Adventures. Cultural Dynamics, 16(1), 5-28.
  • VonMossner, A. W.(Ed.). (2014). Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo, Ontario: Wilfrid Laurier University Press.
  • White, D. F. & Wilbert, C. (Eds.). (2009). Technonatures: Environments, Technologies, Spaces, and Places in the Twenty- rst Century. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Willoquet-Maricondi, P. (2010). Framing the World: Explorations in Ecocriticismand Film. Charlottesville: University of Virginia Press.
  • Zdravic, A. (Yönetmen). (1997). Riverglass: A River Ballet in Four Seasons [Film]. Slovenia.

GREENER: ON ECOCINEMA THEORY

Yıl 2015, Cilt: 6 Sayı: 2, 7 - 25, 15.10.2015
https://doi.org/10.32001/sinecine.540222

Öz








Considering cinema as a product of the Industrial Revolution opens a space for discussion of
its relationship to the environment and its potential for furthering ecological consciousness
as a nature-friendly medium. Departing from ecocriticism rooted in literary theory, this
paper explores the possibilities of an engagement between ecology and cinema in the
framework of ecocinema theory in the light of post-2010 research. The main argument,
constituted by analysis of Solar Cinema as a newfangled ecocinematic praxis, is that moving
images o
ered by various modes of ecocinema cannot be assessed without the surfaces
on which they are reflected. Not only are greener film production, ecologically sensitive
narrative, and moving images of great importance; the surface and the place of the screen
also carry a particular significance. It is hoped that a bridge between Turkish cinema studies
and ecocriticism will produce a constructive and intellectually rich pathway, parallel to the
attempts of civil institutions and alternative media to promote ecological consciousness. 




Kaynakça

  • Adams, W. M. & Mulligan, M. (2003). Decolonizing Nature: Strategies for Conservation in a Post-colonial Era. London: Earthscan.
  • Alaimo, S. (2010). Bodily Natures: Science, Environment, and the Material Self. Bloomington: University of Indiana Press.
  • Anderson, L., Slovic, S. & O’Grady, J.P. (Eds.) (1999). Literature and the Environment: A Reader on Nature and Culture. New York: Longman.
  • Barry, J. (1999). Rethinking Green Politics: Nature, Virtue and Progress. London: Sage.
  • Benning, J. (Yönetmen). (2001). Sogobi [Film]. ABD.
  • Benton, L. M. & Short, J. R. (1999). Environmental Discourse and Practice. Oxford: Blackwell.
  • Bookchin, M. (1986). Post-Scarcity Anarchism. Montreal: Black Rose Books.
  • Bora, T. (Ed.). (1988). Yeşiller ve Sosyalizm. İstanbul: İletişim.
  • Bozak, N. (2012). The Cinematic Footprint: Lights, Camera, Natural Resources. Newark, NJ: Rutgers University Press.
  • Brereton, P. (2005). Hollywood Utopia: Ecology in Contemporary American Cinema. Bristol: Intellect.
  • Burkett, P. (2006). Marxism and Ecological Economics: Toward a Red and Green Political Economy. Leiden: Brill.
  • Carmichael, D. A. (Ed.). (2006). The Landscape of Hollywood Westerns: Ecocriticism in an American Film Genre. Salt Lake: University of Utah Press.
  • Chris, C. (2006).Watching Wildlife. Minneapolis: University of Minnesota Press.
  • Corbett, C. & Turco, R. (2006). Sustainability in the Motion Picture Industry. University of California Institute of the Environment, Sacramento: State of California IntegratedWaste Management Board, http://www.environment.ucla.edu/perch/resources/mpisreport.pdf.
  • Costner, K. (Yönetmen). (1990). Dances with Wolves [Film]. ABD: Tig Productions.
  • Crosby, A. W. (1989). Ecological Imperialism: The Overseas Migration of Western Europeans as a Biological Phenomenon. D. Worster (Ed.), The Ends of the Earth: Perspectives on Modern Environmental History (s. 103-117). Cambridge: Cambridge University Press.
  • Cubitt, S. (2005). EcoMedia. New York: Rodopi.
  • Curry, P. (2006). Ecological Ethics: An Introduction. Cambridge: Polity Press.
  • Dal, B. & Kabadayı, B. (Yönetmen). (2013). Boğaziçi Balıkları [Film]. Türkiye: Tarçın Film.
  • Davidson, T. K., Park, O. & Shields, R. (Eds.). (2011). Ecologies of Affect: Placing Nostalgia, Fear, and Hope. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Davion, V. (1994). Is Ecofeminism Feminist?. K. J. Warren (Ed.), Ecological Feminism (s. 8-28). New York: Routledge.
  • Dobson, A. & Lucardie, P. (Eds.). (1993). The Politics of Nature: Explorations in Green Political Theory. New York: Routledge.
  • Drazin, C. (2014). The Origin, Practice and Meaning of the Free Cinema Manifesto. Journal of British Cinema and Television, 11(2-3), 294-311.
  • Frammartino, M. (Yönetmen). (2011). Le Quattro Volte [Film]. İtalya: Invisible Film.
  • Gaard, G. (Ed.). (1993). Ecofeminism: Women, Animals, Nature. Philadelphia: Temple University Press.
  • Gaard, G. (2010). New Directionsfor Ecofeminism. Interdisciplinary Studies in Literature and Environment, 17(4), 643-665.
  • Galt, R. & Schoonover, K. (Ed.). (2010). Global Art Cinema: New Theories and Histories. Cape Town: Oxford University Press.
  • Gandy M.(2012). Queer Ecology: Nature, Sexuality, and Heterotopic Alliances. Environment and Planning D: Society and Space,30(4), 727- 747.
  • Garrard, G. (2004). Ecocriticism. New York: Routledge.
  • Genz, S. & Brabon, B. A. (2009). Postfeminism: Cultural Texts and Theories. Edinburgh: Edinburgh University Press.
  • Getino, O. & Solanas, F. (1969). Toward a Third Cinema. Tricontinental, 14. https://ufsinfronteradotcom. les.wordpress.com/2011/05/tercer- cine-getino-solonas-19691.pdf.
  • Guha, R. (2000). Environmentalism: A Global History. New York: Longman.
  • Gustafsson, T. & Kaapa, P. (Eds.). (2013). Transnational Ecocinema: Film Culture in an Era of Ecological Transformation. Chicago: The University of Chicago Press.
  • Haenn, N. & Wilk, R. R. (Eds.). (2006). The Environment in Anthropology: A Reader in Ecology, Culture, and Sustainable Living. New York: New York University Press.
  • Haraway, D. (1989). Primate Visions: Gender, Race, and Nature in the World of Modern Science. New York: Routledge.
  • Haraway, D. (1991). Simians, Cyborgs and Women: The Reinvention of Nature. New York: Routledge.
  • Haraway, D. (2008).When Species Meet. Minneapolis: University of Minnesota Press.
  • Hochman, J. (1998). Green Cultural Studies: Nature in Film, Novel and Theory. Moscow, ID: University of Idaho Press.
  • Hovardas, T. (2012). A Critical Reading of Ecocentrism and Its Meta-Scienti c Use of Ecology: Instrumental Versus Emancipatory Approaches in Environmental Education and Ecology Education. Sci. & Educ. http://www.researchgate.net/pro le/Tasos_Hovardas/ publication/257662472_A_Critical_Reading_of_Ecocentrism_and_Its_ Meta-Scienti c_Use_of_Ecology_Instrumental_Versus_Emancipatory_ Approaches_in_Environmental_Education_and_Ecology_Education/ links/0fcfd508139f6bae89000000.pdf
  • Huggan, G. & Tiffin, H. (2010). Postcolonial Ecocriticism: Literature, Animals, Environment. New York: Routledge.
  • Hughes, J. (2000). Ecology and Historical Materialism. Madrid: Cambridge University Press.
  • Huhndorf, S. (2009). Mapping the Americas: The Transnational Politics of Contemporary Native Culture. Ithica, NY: Cornell UniversityPress.
  • Hutton, P. (Yönetmen). (1996). Study of a River [Film]. ABD.
  • Hutton, P. (Yönetmen). (2000). Time and Tide[Film]. ABD.
  • Ingram, D. (2000). Green Screen: Environmentalism and Hollywood Cinema. Exeter: University of Exeter Press.
  • Ivakhiv, A. J. (2008). Green Film Criticism and Its Futures. Interdisciplinary Studies in Literature and Environment, 15(2), 1-27. Ivakhiv, A. J. (2013). Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo, ON: Wilfrid Laurier University Press.
  • Kitchen, D. (Yönetmen). (2001). Wot the Ancient Sod [Film]. ABD.
  • Koch, G., Pantenburg, V. & Rothöhler, S. (Eds.). (2012). Screen Dynamics: Mapping the Borders of Cinema. Wien: SYNEMA.
  • Kortenkamp, K. V. & Moore, C. F. (2001). Ecocentrism and Anthropocentrism: Moral Reasoning about Ecological Commons Dilemmas. Journal of Environmental Psychology, 21, 261–272.
  • Kovács, A. B. (2007). Screening Modernism: European Art Cinema, 1950-1980. Chicago: Chicago University Press.
  • Larsen, E. (2007). “To See Things for the First Time”: Before and After Ecocriticism. Journal of Literary Studies, 23(4), 341-373.
  • Lemmer, E. (2007). Ecocriticism. Journal of Literary Studies, 23(3), 223-227.
  • Leonard, L. & Barry, J. (Eds.). (2009). The Transition to Sustainable Living and Practice. Bingley: Emerald.
  • Levin, J. (1999). Forum on Literatures of the Environment. PMLA, 114(5), 1097-1098.
  • Lu, S. & Jiayan, M. (Eds.). (2010). Chinese Ecocinema: In the Age of Environmental Challenge. Seattle: University of Washington Press.
  • MacDonald, S. (2001). The Garden in the Machine: A Field Guide to Independent Films about Place. Berkeley: University of California Press.
  • MacDonald, S. (2004). Toward an Eco-Cinema.Interdisciplinary Studies in Literature and Environment, 11(2), 107-132.
  • MacDonald, S. (2013). The Ecocinema Experience. S. Rust, S. Monani & S. Cubitt (Eds.), Ecocinema Theory and Practice (s. 17-42). Londra: Routledge.
  • Marshall, I. (1994).The Ecocritical Heritage.http://www.asle.umn.edu/. Erişim tarihi 27.06.2007.
  • Mason, T. V. (2013). Ornithologies of Desire: Ecocritical Essays, Avian Poetics, and Don McKay. Waterloo, Ontario: Wilfried Laurier University Press.
  • Mazel, D. (Ed.).(2001). A Century of Early Ecocriticism. Athens, Georgia: Georgia University Press.
  • Miller, T. &Maxwell, R. (2008). E-Waste: Elephant in theLiving Room. Flow TV, 9(3).http:// owtv.org/2008/12/e-waste-elephant-in-the-living- room-richard-maxwell-queens-college-cuny-toby-miller-uc-riverside/.
  • Miller, T. & Maxwell, R. (2012).Greening the Media. Oxford: Oxford University Press.
  • Mitman, G. (2009). Reel Nature: America’s Romance with Wildlife on Film. Cambridge, MA: Harvard University Press.
  • Mortimer-Sandilands, C. & Erickson, B. (Eds.). (2010). Queer Ecologies: Sex, Nature, Politics, Desire. Bloomington: Indiana University Press.
  • Morton, T. (2010). Queer Ecology.PMLA, 125(2), 273-282.
  • Murray, R. I. & Heuman, J. K. (2009). Ecology and Popular Film: Cinema on the Edge. Albany: State University of New York Press. Naess, A. (1984). Intuition, Intrinsic Value and Deep Ecology. The Ecologist, 14(5,6), 201-203.
  • Naess, A. (1985). The World of Concrete Contents. Inquiry: An Interdisciplinary Journal of Philosophy and the Social Sciences, 28, 417-428.
  • Naess, A. (1986). The Deep Ecology Movement: Some Philosophical Aspects. Philosophical Inquiry, 8, 10-31.
  • Nhanenge, J. (2011). Ecofeminism: Towards Integrating the Concerns of Women, Poor People, and Nature into Development. Maryland: University Press of America.
  • O’Sullivan, E. V. & Taylor, M. M. (Eds.). (2004). Learning Toward an Ecological Consciousness: Selected Transformative Practices. New York: Palgrave Macmillan.
  • Pepper, D. (1993). Eco-Socialism: From Deep Ecology to Social Justice. London: Routledge.
  • Piper, L. & Szabo-Jones, L. (Eds.). (2015). Sustaining the West: Cultural Responses to Canadian Environments. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Ponting, C. (2012). Dünyanın Yeşil Tarihi: Çevre ve Büyük Uygarlıkların Çöküşü (A. Başcı, Çev.). İstanbul: Sabancı Üniversitesi.
  • Potter, W. (2011). Green is the New Red: An Insider’s Account of a Social Movement Under Siege. San Francisco: City Lights Books.
  • Rouch, J. (2003). Ciné-Ethnography (S. Feld, Çev.). Minneapolis: University of Minnesota Press.
  • Rust, S., Monani, S. & Cubitt, S. (Eds.). (2012). Ecocinema Theory and Practice. Londra: Routledge.
  • Salleh, A. (1984). Deeper than Deep Ecology: The Ecofeminist Connection. Environmental Ethics, 6(4), 335-341.
  • Soderbergh, S. (Yönetmen). (2000). Erin Brockovich [Film]. ABD: Universal Pictures.
  • Spielberg, S. (Yönetmen). (1975). Jaws [Film]. ABD: Zanuck/Brown Productions.
  • Staiger, J. (2000).Perverse Spectators: The Practices of Film Reception. New York: New York University Press.
  • Staiger, J. (2005). Media Reception Studies. New York: New York University Press.
  • Sturgeon, N. (2009). Environmentalism in Popular Culture: Gender, Race, Sexuality, and the Politics of the Natural. Tucson: University of Arizona Press.
  • Taylor, B.(Ed.). (2013). Avatar and Nature Spirituality. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Toke, D. (2000). Green Politics and Neoliberalism. London: McMillan Press.
  • Uhl, C. (2013). Developing Ecological Consciousness: The End of Separation. Maryland: Rowman & Little eld.
  • Vivanco, L. (2004). The Work of Environmentalism in the Age of Televisual Adventures. Cultural Dynamics, 16(1), 5-28.
  • VonMossner, A. W.(Ed.). (2014). Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo, Ontario: Wilfrid Laurier University Press.
  • White, D. F. & Wilbert, C. (Eds.). (2009). Technonatures: Environments, Technologies, Spaces, and Places in the Twenty- rst Century. Waterloo, Ontario: Wilfrid Laurier University Press.
  • Willoquet-Maricondi, P. (2010). Framing the World: Explorations in Ecocriticismand Film. Charlottesville: University of Virginia Press.
  • Zdravic, A. (Yönetmen). (1997). Riverglass: A River Ballet in Four Seasons [Film]. Slovenia.
Toplam 91 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makale
Yazarlar

Ahmet Emin Bülbül

Yayımlanma Tarihi 15 Ekim 2015
Yayımlandığı Sayı Yıl 2015 Cilt: 6 Sayı: 2

Kaynak Göster

APA Bülbül, A. E. (2015). BAK YEŞİL YEŞİL: EKOSİNEMA KURAMI ÜZERİNE. Sinecine: Sinema Araştırmaları Dergisi, 6(2), 7-25. https://doi.org/10.32001/sinecine.540222

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.