BAK YEŞİL YEŞİL: EKOSİNEMA KURAMI ÜZERİNE

Year 2015, Volume: 6 Issue: 2, 7 - 25, 15.10.2015

Ahmet Emin Bülbül

https://doi.org/10.32001/sinecine.540222

Cited By: 1

Abstract

Endüstri Devrimi’nin ürünü olarak sinemanın çevreyle ilişkisi, ekolojik duyarlılık yaratma
ve doğaya duyarlı bir forma bürünme potansiyelleri verimli bir tartışma alanı açmaktadır.
Bu çalışma, ilk meyvelerini edebiyat araştırmaları içerisinde veren ekoeleştiriden yola çıkıp,
ekoloji ve sinema birlikteliğinin olanaklarını, ekosinema kuramının sunduğu çerçeveyi,
2010 sonrasına tarihlenen güncel araştırmalar ışığında masaya yatırmayı amaçlıyor. Taze bir
ekolojik pratik mahiyetindeki Solar Cinema’yı irdeleyen bu yazıda sunulan temel argüman,
Ekosinema’nın farklı kanallarla sunduğu hareketli görüntünün, yansıtıldığı yüzeyden bağımsız
düşünülemeyeceğidir. Yalnız yeşillenmiş üretim pratikleri, ekolojik açıdan hassas film metni
ve hareketli görüntü değil, ekolojik filmlerle görünür kılınan hikâyenin yansıtıldığı yüzeyin,
sinema ekranının mekânı da ihmal edilemeyecek bir ehemmiyet arz etmektedir. Ekoeleştirel
düşünceyi Türkiye coğrafyasındaki sinema çalışmalarıyla ilişkilendiren bu çabanın, toplumsal
yaşamda çeşitli sivil toplum kuruluşları ve alternatif medya organları tarafından ekolojik bilincin
vurgulanmasına paralel olarak, üretici ve entelektüel açıdan besleyici bir hareket noktası tesis
edeceği umulmaktadır. 

Keywords

Çevrecilik, ekoeleştiri, ekosinema, Solar Cinema, sürdürülebilirlik

GREENER: ON ECOCINEMA THEORY

Abstract

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. 

Keywords

Environmentalism, ecocriticism, ecocinema, Solar Cinema, sustainability

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