Araştırma Makalesi
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The Future of Cinema in the Anthropocene Age

Yıl 2026, Cilt: 17 Sayı: 1, 296 - 306, 30.01.2026

Öz

The Anthropocene is the current geological epoch, marking the decisive and often irreversible impacts of human activities on the climate and ecosystems. This era not only provides a scientific framework but is also regarded as a multidimensional zone of crisis that profoundly interrogates forms of cultural production, regimes of representation, and aesthetic sensibilities. The film industry, a product of the Industrial Revolution and shaped by an infrastructure reliant on resource consumption, is both a symptom of the Anthropocene and a powerful cultural instrument employed in its comprehension. This study initiates a discussion on the future of cinema within the context of the Anthropocene by examining the inadequacy of classical narrative structures in representing ecological crises. It underscores the necessity for new thematic, formal, and ethical paradigms capable of addressing the magnitude of these crises; furthermore, it explores the potential evolution of cinema through its transformation from narratives reduced to the visual spectacle of catastrophe toward becoming an Anthropocenic mode of representation. This transformation is analyzed through aesthetic and formal innovations alongside ruptures in narrative structures. Drawing on selected works grounded in ecocriticism, media theory, and Anthropocene studies, the research interrogates cinema’s capacity to articulate ecological awareness. Ultimately, the study concludes that cinema must undergo a radical transformation in its narrative, aesthetic, and production practices to maintain cultural and ethical relevance. Through this shift, cinema may emerge as a medium that nurtures ecological consciousness and ethical reflection, thereby contributing significantly to the development of a shared planetary imagination.

Kaynakça

  • Albrecht, G. (2005). Solastalgia: A new concept in human health and identity. Philosophy, Activism, Nature, 3. 41-55.
  • Bayraktar, N. (2024). Çevre dostu film yapımını destekleyen girişimler. EkoFilm Platformu.
  • Benjamin, W. (2019). Work of art in the age of its technological reproducibility, and other writings on media. Harvard University Press, Belknap Press.
  • Best, J. (1914). Seeing the world by the cinema. Pathé Cinema Journal, 39.
  • Bode, L. (2001). Ananova in 'the Kingdom of Shadows. Convergence: The International Journal of Research into New Media Technologies, 7(1), 10–16.
  • Bozak, N. (2012). The cinematic footprint: Lights, camera, natural resources. Rutgers University Press.
  • Bradford, C., Mallan, K., Stephens, J., ve McCallum, R. (2008). Reweaving nature and culture: Reading ecocritically. In New world orders in contemporary children’s literature. Palgrave Macmillan.
  • Bruno, G. (2002). Atlas of emotion: Journeys in art, architecture and film. Verso.
  • Buchanan, C. (2016). Carbon footprint of movie production location choice: The real cost (Master’s thesis). Harvard Extension School.
  • Buell, L. (1995). The environmental imagination: Thoreau, nature writing, and the formation of American culture. Harvard University Press.Chen, L. (2022). Toxicity of film production: Materializing the light and shadow. In Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021). Advances in Social Science, Education and Humanities Research. Atlantis Press. Community Passbolt. (2023). Number of photos 2023: Statistics and trends.
  • Corbett, C., ve Turco, R. (2006). Sustainability in the motion picture industry, 2–83. University of California, Los Angeles, Institute of the Environment.
  • Crutzen, P. J., & Stoermer, E. F. (2000). The Anthropocene. Global Change Newsletter, 41, 17–18.
  • De Luca, T. (2022). Planetary cinema: Film, media and the Earth. Amsterdam University Press.
  • de Parville, H. (1896). Le cinématographe. Les Annales Politiques et Littéraires: Revue Populaire Paraissant Le Dimanche.
  • Doğan, N., & Dalkılıç, İ. (2023). Environmental footprint of Hollywood film industry: myths vs facts. Environmental science and pollution research international, 30(30).
  • Écoprod. (2024). Green production for the film and TV industries. Écoprod.
  • El, E. (2019). Çağdaş Amerikan çevreci edebiyatında yavaş şiddet olgusu (Yüksek lisans tezi, Hacettepe Üniversitesi, Amerikan Kültürü ve Edebiyatı Anabilim Dalı). YÖK Ulusal Tez Merkezi.
  • Fay, J. (2018). Inhospitable world: Cinema in the time of the Anthropocene. Oxford University Press.
  • Fell, E., & Lukianova, N. (2018). Arts of living on a damaged planet: Ghosts and monsters of the Anthropocene. The Philosophical Quarterly, 68(272).
  • Fort, J. A. (2021). André Bazin's eternal returns: An ontological revision. Film-Philosophy, 25(1). Frammartino, M. (Director). (2021). Il buco [Film]. Doppio Nodo Double Bind, Rai Cinema.
  • Ghosh, A. (2016). The great derangement: Climate change and the unthinkable. University of Chicago Press.
  • Green Screen Project Europe. (2024). Film industry carbon footprint. Artshelp, 1.
  • Green Screen Toronto. (2008). Environmental assessment of the film-based industries. Green Screen Toronto.
  • Hansen, M. B. N. (2008). New philosophy for new media. MIT Press.
  • Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.
  • Harvey, O. (2006). Marshall McLuhan on technology, subjectivity and ‘the sex organs of the machine world’. Continuum: Journal of Media & Cultural Studies, 20(3), Taylor & Francis.
  • Helzle, V., Spielmann, S., ve Trottnow, J. (2022). Green screens, green pixels and green shooting. In ACM SIGGRAPH 2022 Talks. ACM.
  • Hughes, H. (2015). Adrian J. Ivakhiv (2013) Ecologies of the moving image: Cinema, affect, nature. FilmPhilosophy, 19(1).
  • Ivakhiv, A. J. (2013). Ecologies of the moving image: Cinema, affect, nature. Environmental Humanities Series. Wilfrid Laurier University Press.
  • Jacobson, B. R. (2015). Studios before the system: Architecture, technology, and the emergence of cinematic space. Columbia University Press.
  • Jensen, K. A., ve Wallace, M. L. (2015). Introduction: Facing emotions. PMLA: Publications of the Modern Language Association of America, 130(5), 1249–1268.
  • Koch, G. (2014). Film as experiment in animation: Are films experiments on human beings? In K. Beckman (Ed.), Animating film theory, Duke University Press.
  • Kossakovsky, V. (Director). (2020). Gunda [Film]. Altitude Film Sales.
  • Kracauer, S. (1995). The mass ornament: Weimar essays (T. Y. Levin, Çev). Harvard University Press.
  • Kracauer, S. (2004). From Caligari to Hitler: A psychological history of the German film. Princeton University Press.
  • Kracauer, S. (2015). Film Teorisi: Fiziksel Gerçekliğin Kurtuluşu (Ö. Çelik, Çev.). Metis Yayıncılık.
  • Küngerü, A. (Ed.). (2024). Sinema ve Antroposen (1. basım). Nobel Bilimsel Eserler.
  • Lauwrensia, A. P., ve Ariestya, A. (2022). The green storytelling marketing: Influencing consumer purchase decision through environmental consciousness. Jurnal Komunikasi Profesional, 6(1).
  • Löwy, M. (2019). Walter Benjamin against the ‘murder’ of nature. In Romantic anti-capitalism and nature. Routledge.
  • MacDonald, S. (2004). Toward an eco-cinema. ISLE: Interdisciplinary Studies in Literature and Environment, 11(2).
  • Malhotra, A., ve Feenberg, A. (1995). Alternative modernity: The technical turn in philosophy and social theory. University of California Press.
  • Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
  • Marx, K. (1999). Karl Marx on revolution (S. K. Padover, Ed.). McGraw-Hill, 5.
  • Marx, K., ve Engels, F. (1972). The Karl Marx library (S. K. Padover, Ed.). McGraw-Hill.
  • Mattelart, A. (2001). İletişimin dünyasallaşması (H. Yücel, Çev.). İletişim Yayınları.
  • Maxwell, R., ve Miller, T. (2012). Greening the media. Oxford University Press.
  • Meilani, M. (2021). Sustainability and eco-friendly movement in movie production. IOP Conference Series: Earth and Environmental Science, 794(1), 1–5. IOP Publishing.
  • Mişon, A. (1898). Bibiheybatda neft fontanı yanğını [Kısa film]. Bakü, Azerbaycan.
  • Morton, T. (2016). Dark ecology: For a logic of future coexistence. Columbia University Press.
  • Murray, R. L., ve Heumann, J. K. (2019). Ecocinema in the city. Routledge.
  • Nancy, J.-L., ve Barrau, A. (2014). What's these worlds coming to? Fordham University Press.
  • Nergiz, S., ve Kavukcu, E. (2024). Ekolojik krizin solastaljik etkileri ve buzun sanatta kullanılması. Sanat ve Tasarım Dergisi, 21(1), 227–248.
  • Nixon, R. (2011). Slow violence and the environmentalism of the poor. USA: Harvard University Press.
  • Öksüz Karademir, C. (2023). Film endüstrisinde sürdürülebilirlik. In B. Türk (Ed.), Sürdürülebilirlik ve kültürel üretim, Nobel Bilimsel Eserler.
  • Rifkin, S. J. (2011). André Bazin's "Ontology of the Photographic Image”: Representation, Desire, and Presence (Doctoral dissertation). Carleton University.
  • Rust, S., Monani, S., ve Cubitt, S. (Eds.). (2013). Ecocinema theory and practice. Routledge.
  • Rust, S., Monani, S., ve Cubitt, S. (Eds.). (2023). Ecocinema theory and practice 2. Routledge.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
  • Szerszynski, B. (2003). Technology, performance and life itself: Hannah Arendt and the fate of nature. The Sociological Review, 51(2).
  • Topal, G. (2025). Antroposen çağında bir bilinç oluşturma çabası olarak ekosinema üzerine inceleme (Doktora tezi, Atatürk Üniversitesi, Sosyal Bilimler Enstitüsü).
  • Tsing, A. L. (2015). The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton University Press.
  • Tsing, A. L., Bubandt, N., Gan, E., ve Swanson, H. A. (Eds.). (2017). Arts of living on a damaged planet: Ghosts and monsters of the Anthropocene. University of Minnesota Press.
  • Victory, J. D. (2015). Green shoots: Environmental sustainability and contemporary film production. Studies in Arts and Humanities, 1(1).
  • Weigel, M. (2019). Inhospitable world: Cinema in the time of the Anthropocene by Jennifer Fay (review). JCMS: Journal of Cinema and Media Studies, 59(1).
  • White, D. (2018). Film in the Anthropocene: Philosophy, ecology, and cybernetics. Palgrave Macmillan.
  • Willoughby, G. (1991). Keyan Tomaselli and the task of cultural criticism. Journal of Literary Studies, 7(1).
  • Wróblewska, A. (2021). Zrównoważona produkcja filmowa w Polsce. Geneza i perspektywy. Zarządzanie w Kulturze, 22(3).
  • Yılmaz, Ç. (2021). Ekosinema: Çevreci film eleştirisine giriş. Doruk Yayınları.

Antroposen Çağ’ında Sinema ve Geleceği

Yıl 2026, Cilt: 17 Sayı: 1, 296 - 306, 30.01.2026

Öz

Antroposen, insan etkinliklerinin iklim ve ekosistemler üzerindeki belirleyici ve çoğu zaman geri döndürülemez etkilerini imleyen mevcut jeolojik dönemdir. Bu çağ, yalnızca bilimsel bir çerçeve sunmakla kalmayıp; kültürel üretim biçimlerini, temsil rejimlerini ve estetik duyarlılıkları da köklü biçimde sorgulayan çok boyutlu bir kriz alanı olarak değerlendirilmektedir. Sanayi Devrimi’nin ürünü olan ve kaynak tüketimine dayalı altyapısıyla şekillenen sinema endüstrisi, Antroposen’in hem bir belirtisi hem de bu çağın anlaşılması için kullanılan güçlü bir kültürel araçtır. Bu çalışma, sinemanın Antroposen bağlamındaki geleceğini, klasik anlatı yapılarının ekolojik krizleri temsil etmedeki yetersizliği üzerinden tartışmaya açmaktadır. Krizlerin ölçeğiyle başa çıkabilecek yeni tematik, biçimsel ve etik paradigmaların gerekliliği vurgulanmakta; sinemanın olası evrimi, felaketin görsel sahnelere indirgenmiş anlatılardan uzaklaşarak Antroposenik bir temsil aracına dönüşümü üzerinden ele alınmaktadır. Bu dönüşüm, anlatı yapılarındaki kırılmalarla birlikte estetik ve biçimsel yenilikler doğrultusunda incelenmektedir. Araştırma, ekoeleştiri, medya teorisi ve Antroposen çalışmaları temelinde seçilmiş eserler aracılığıyla sinemanın ekolojik farkındalığı yansıtma kapasitesini sorgulamaktadır. Sonuç olarak çalışma sinemanın kültürel ve etik açıdan güncel kalabilmesi için anlatı, estetik ve üretim pratiklerinde köklü bir dönüşüm geçirmesi gerektiği neticesine varmaktadır. Bu dönüşümle birlikte sinema, ekolojik bilinç ve etik düşünceyi besleyen bir mecra olarak ortaya çıkabilir ve ortak bir gezegenel hayal gücünün gelişimine önemli katkılar sağlayabilir.

Kaynakça

  • Albrecht, G. (2005). Solastalgia: A new concept in human health and identity. Philosophy, Activism, Nature, 3. 41-55.
  • Bayraktar, N. (2024). Çevre dostu film yapımını destekleyen girişimler. EkoFilm Platformu.
  • Benjamin, W. (2019). Work of art in the age of its technological reproducibility, and other writings on media. Harvard University Press, Belknap Press.
  • Best, J. (1914). Seeing the world by the cinema. Pathé Cinema Journal, 39.
  • Bode, L. (2001). Ananova in 'the Kingdom of Shadows. Convergence: The International Journal of Research into New Media Technologies, 7(1), 10–16.
  • Bozak, N. (2012). The cinematic footprint: Lights, camera, natural resources. Rutgers University Press.
  • Bradford, C., Mallan, K., Stephens, J., ve McCallum, R. (2008). Reweaving nature and culture: Reading ecocritically. In New world orders in contemporary children’s literature. Palgrave Macmillan.
  • Bruno, G. (2002). Atlas of emotion: Journeys in art, architecture and film. Verso.
  • Buchanan, C. (2016). Carbon footprint of movie production location choice: The real cost (Master’s thesis). Harvard Extension School.
  • Buell, L. (1995). The environmental imagination: Thoreau, nature writing, and the formation of American culture. Harvard University Press.Chen, L. (2022). Toxicity of film production: Materializing the light and shadow. In Proceedings of the 2021 International Conference on Social Development and Media Communication (SDMC 2021). Advances in Social Science, Education and Humanities Research. Atlantis Press. Community Passbolt. (2023). Number of photos 2023: Statistics and trends.
  • Corbett, C., ve Turco, R. (2006). Sustainability in the motion picture industry, 2–83. University of California, Los Angeles, Institute of the Environment.
  • Crutzen, P. J., & Stoermer, E. F. (2000). The Anthropocene. Global Change Newsletter, 41, 17–18.
  • De Luca, T. (2022). Planetary cinema: Film, media and the Earth. Amsterdam University Press.
  • de Parville, H. (1896). Le cinématographe. Les Annales Politiques et Littéraires: Revue Populaire Paraissant Le Dimanche.
  • Doğan, N., & Dalkılıç, İ. (2023). Environmental footprint of Hollywood film industry: myths vs facts. Environmental science and pollution research international, 30(30).
  • Écoprod. (2024). Green production for the film and TV industries. Écoprod.
  • El, E. (2019). Çağdaş Amerikan çevreci edebiyatında yavaş şiddet olgusu (Yüksek lisans tezi, Hacettepe Üniversitesi, Amerikan Kültürü ve Edebiyatı Anabilim Dalı). YÖK Ulusal Tez Merkezi.
  • Fay, J. (2018). Inhospitable world: Cinema in the time of the Anthropocene. Oxford University Press.
  • Fell, E., & Lukianova, N. (2018). Arts of living on a damaged planet: Ghosts and monsters of the Anthropocene. The Philosophical Quarterly, 68(272).
  • Fort, J. A. (2021). André Bazin's eternal returns: An ontological revision. Film-Philosophy, 25(1). Frammartino, M. (Director). (2021). Il buco [Film]. Doppio Nodo Double Bind, Rai Cinema.
  • Ghosh, A. (2016). The great derangement: Climate change and the unthinkable. University of Chicago Press.
  • Green Screen Project Europe. (2024). Film industry carbon footprint. Artshelp, 1.
  • Green Screen Toronto. (2008). Environmental assessment of the film-based industries. Green Screen Toronto.
  • Hansen, M. B. N. (2008). New philosophy for new media. MIT Press.
  • Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.
  • Harvey, O. (2006). Marshall McLuhan on technology, subjectivity and ‘the sex organs of the machine world’. Continuum: Journal of Media & Cultural Studies, 20(3), Taylor & Francis.
  • Helzle, V., Spielmann, S., ve Trottnow, J. (2022). Green screens, green pixels and green shooting. In ACM SIGGRAPH 2022 Talks. ACM.
  • Hughes, H. (2015). Adrian J. Ivakhiv (2013) Ecologies of the moving image: Cinema, affect, nature. FilmPhilosophy, 19(1).
  • Ivakhiv, A. J. (2013). Ecologies of the moving image: Cinema, affect, nature. Environmental Humanities Series. Wilfrid Laurier University Press.
  • Jacobson, B. R. (2015). Studios before the system: Architecture, technology, and the emergence of cinematic space. Columbia University Press.
  • Jensen, K. A., ve Wallace, M. L. (2015). Introduction: Facing emotions. PMLA: Publications of the Modern Language Association of America, 130(5), 1249–1268.
  • Koch, G. (2014). Film as experiment in animation: Are films experiments on human beings? In K. Beckman (Ed.), Animating film theory, Duke University Press.
  • Kossakovsky, V. (Director). (2020). Gunda [Film]. Altitude Film Sales.
  • Kracauer, S. (1995). The mass ornament: Weimar essays (T. Y. Levin, Çev). Harvard University Press.
  • Kracauer, S. (2004). From Caligari to Hitler: A psychological history of the German film. Princeton University Press.
  • Kracauer, S. (2015). Film Teorisi: Fiziksel Gerçekliğin Kurtuluşu (Ö. Çelik, Çev.). Metis Yayıncılık.
  • Küngerü, A. (Ed.). (2024). Sinema ve Antroposen (1. basım). Nobel Bilimsel Eserler.
  • Lauwrensia, A. P., ve Ariestya, A. (2022). The green storytelling marketing: Influencing consumer purchase decision through environmental consciousness. Jurnal Komunikasi Profesional, 6(1).
  • Löwy, M. (2019). Walter Benjamin against the ‘murder’ of nature. In Romantic anti-capitalism and nature. Routledge.
  • MacDonald, S. (2004). Toward an eco-cinema. ISLE: Interdisciplinary Studies in Literature and Environment, 11(2).
  • Malhotra, A., ve Feenberg, A. (1995). Alternative modernity: The technical turn in philosophy and social theory. University of California Press.
  • Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
  • Marx, K. (1999). Karl Marx on revolution (S. K. Padover, Ed.). McGraw-Hill, 5.
  • Marx, K., ve Engels, F. (1972). The Karl Marx library (S. K. Padover, Ed.). McGraw-Hill.
  • Mattelart, A. (2001). İletişimin dünyasallaşması (H. Yücel, Çev.). İletişim Yayınları.
  • Maxwell, R., ve Miller, T. (2012). Greening the media. Oxford University Press.
  • Meilani, M. (2021). Sustainability and eco-friendly movement in movie production. IOP Conference Series: Earth and Environmental Science, 794(1), 1–5. IOP Publishing.
  • Mişon, A. (1898). Bibiheybatda neft fontanı yanğını [Kısa film]. Bakü, Azerbaycan.
  • Morton, T. (2016). Dark ecology: For a logic of future coexistence. Columbia University Press.
  • Murray, R. L., ve Heumann, J. K. (2019). Ecocinema in the city. Routledge.
  • Nancy, J.-L., ve Barrau, A. (2014). What's these worlds coming to? Fordham University Press.
  • Nergiz, S., ve Kavukcu, E. (2024). Ekolojik krizin solastaljik etkileri ve buzun sanatta kullanılması. Sanat ve Tasarım Dergisi, 21(1), 227–248.
  • Nixon, R. (2011). Slow violence and the environmentalism of the poor. USA: Harvard University Press.
  • Öksüz Karademir, C. (2023). Film endüstrisinde sürdürülebilirlik. In B. Türk (Ed.), Sürdürülebilirlik ve kültürel üretim, Nobel Bilimsel Eserler.
  • Rifkin, S. J. (2011). André Bazin's "Ontology of the Photographic Image”: Representation, Desire, and Presence (Doctoral dissertation). Carleton University.
  • Rust, S., Monani, S., ve Cubitt, S. (Eds.). (2013). Ecocinema theory and practice. Routledge.
  • Rust, S., Monani, S., ve Cubitt, S. (Eds.). (2023). Ecocinema theory and practice 2. Routledge.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
  • Szerszynski, B. (2003). Technology, performance and life itself: Hannah Arendt and the fate of nature. The Sociological Review, 51(2).
  • Topal, G. (2025). Antroposen çağında bir bilinç oluşturma çabası olarak ekosinema üzerine inceleme (Doktora tezi, Atatürk Üniversitesi, Sosyal Bilimler Enstitüsü).
  • Tsing, A. L. (2015). The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton University Press.
  • Tsing, A. L., Bubandt, N., Gan, E., ve Swanson, H. A. (Eds.). (2017). Arts of living on a damaged planet: Ghosts and monsters of the Anthropocene. University of Minnesota Press.
  • Victory, J. D. (2015). Green shoots: Environmental sustainability and contemporary film production. Studies in Arts and Humanities, 1(1).
  • Weigel, M. (2019). Inhospitable world: Cinema in the time of the Anthropocene by Jennifer Fay (review). JCMS: Journal of Cinema and Media Studies, 59(1).
  • White, D. (2018). Film in the Anthropocene: Philosophy, ecology, and cybernetics. Palgrave Macmillan.
  • Willoughby, G. (1991). Keyan Tomaselli and the task of cultural criticism. Journal of Literary Studies, 7(1).
  • Wróblewska, A. (2021). Zrównoważona produkcja filmowa w Polsce. Geneza i perspektywy. Zarządzanie w Kulturze, 22(3).
  • Yılmaz, Ç. (2021). Ekosinema: Çevreci film eleştirisine giriş. Doruk Yayınları.
Toplam 68 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Çevresel İletişim
Bölüm Araştırma Makalesi
Yazarlar

Gökhan Topal 0000-0001-6280-1346

Naci İspir 0000-0002-6239-7934

Gönderilme Tarihi 22 Haziran 2025
Kabul Tarihi 27 Ocak 2026
Yayımlanma Tarihi 30 Ocak 2026
Yayımlandığı Sayı Yıl 2026 Cilt: 17 Sayı: 1

Kaynak Göster

APA Topal, G., & İspir, N. (2026). Antroposen Çağ’ında Sinema ve Geleceği. Gümüşhane University Journal of Social Sciences, 17(1), 296-306. https://izlik.org/JA72DT52ZB