Hayvanlar Dümende: Antroposen'de Kurtuluş ve Dayanışmayı "Flow" Üzerinden Yeniden Düşünmek

Yıl 2026, Cilt: 12 Sayı: 2, 361 - 385, 19.01.2026

Fazıl Akdağ

https://izlik.org/JA94KR37MT

Öz

Bu makale, Gints Zilbalodis’in diyalogsuz animasyonu Flow’u Antroposen bağlamında posthümanist ve ekokritik bir çerçevede çözümler. Çalışma, Braidotti, Haraway, Garrard ve iklim adaleti literatürüyle filmdeki anlatı yapısı, görsel-işitsel atmosfer ve hayvan temsillerini inceler. Tufan ve “Nuh’un Gemisi” motifinin insan-merkezcilikten uzak biçimde tersyüz edilişi, türlerarası dayanışma ile çatışmanın birlikte varlığı ve finaldeki karaya vuran deniz canlısı üzerinden ekolojik yas teması öne çıkar. Bulgular, Flow’un hayvanları özneleştirerek antropomorfizme kapılmadan empati kurdurduğunu; iklim göçü ve müşterek kırılganlık gibi kavramları şiirsel bir dille görünür kıldığını gösterir. Sonuç olarak film, animasyonun Antroposen’i temsil etme gücünü teyit eder ve etik-politik sorumluluklara dair düşünmeyi teşvik eder. Ayrıca çalışma, sessizlik, renk paleti ve uzun planların izleyiciyi türlerarası bakışa yönlendiren estetik stratejiler olarak nasıl işlediğini tartışır.

Anahtar Kelimeler

Antroposen , Posthümanizm , Ekokritik , Hayvan Çalışmaları , Ekosinema

Animals At The Helm: Rethinking Redemption and Solidarity in The Anthropocene Through “Flow”

https://izlik.org/JA94KR37MT

Öz

This article analyzes Gints Zilbalodis' dialogue-free animation Flow within a posthumanist and ecocritical framework in the context of the Anthropocene. The study examines the film's narrative structure, audiovisual atmosphere, and animal representations in relation to the literature of Braidotti, Haraway, Garrard, and climate justice. The reversal of the flood and "Noah's Ark" motifs away from anthropocentrism, as well as the coexistence of interspecies solidarity and conflict, and the ecological lament theme, are highlighted through the final beached sea creature. The findings demonstrate that Flow humanizes animals, enabling empathy without resorting to anthropomorphism, and renders concepts such as climate migration and shared vulnerability more visible through poetic language. In conclusion, the film highlights the power of animation to represent the Anthropocene and prompts reflection on the ethical and political responsibilities that accompany it. The study also discusses how silence, color palette, and long shots function as aesthetic strategies that guide the viewer toward an intergeneric perspective.

Anahtar Kelimeler

Anthropocene , Posthumanism , Ecocriticism , Animal Studies , Ecocinema

Kaynakça

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