Science Communication as A Narrative Form in the Films of Christopher Nolan: Visual Pedagogy, Subjectivity, Epistemology, and Counter-Narrative

Öz

This study examines how narrative operates as a form of science communication in the films of Christopher Nolan, from a perspective that positions the director as a science storyteller. The qualitative, interpretive research draws on a thematic analysis of purposively selected scenes, focusing on Oppenheimer (2023) in comparison with Interstellar (2014), Inception (2010), and The Prestige (2006). Oppenheimer is treated as the focal case and the other three as comparative cases representing different scientific domains, thereby testing whether the findings are specific to a single film or constitute a recurring pattern across Nolan’s cinema. The analysis is organized under four themes: visual pedagogy, the scientist as a human subject, the epistemology of scientific knowledge, and the rewriting of the history of science. The findings show that Nolan transforms scientific knowledge from abstract, cold data into a narrative object that audiences experience and morally confront. The symbiotic relationship between ethical dilemmas and scientific narrative points to a narrative mode of science communication that conveys science through lived experience rather than transmission of facts. By conceptually defining this model, the study contributes to the intersection of science communication and film studies and critically discusses its representational limits.

Anahtar Kelimeler

• science communication
• Christopher Nolan
• Visual pedagogy
• Oppenheimer
• narrative

Christopher Nolan Filmlerinde Bir Anlatı Biçimi Olarak Bilim İletişimi: Görsel Pedagoji, Öznellik, Epistemoloji ve Karşı Anlatı

Öz

Bu çalışma, Christopher Nolan filmlerinde anlatının bir bilim iletişimi biçimi olarak nasıl işlediğini, yönetmeni bir bilim anlatıcısı olarak konumlandıran perspektiften incelemektedir. Nitel ve yorumlayıcı desende tasarlanan araştırmada, Oppenheimer (2023) odağında; Interstellar (2014), Inception (2010) ve The Prestige (2006) ile karşılaştırmalı olarak, amaçlı örneklemle seçilmiş sahnelerin tematik analizine dayanmaktadır. Oppenheimer odak durum, diğer üç film ise farklı bilim alanlarını temsil eden karşılaştırmalı durumlar olarak ele alınmış, böylece bulguların tek bir filme mi özgü olduğu yoksa Nolan sinemasında yinelenen bir örüntü mü oluşturduğu sınanmıştır. Çözümleme; görsel pedagoji, insani bir özne olarak bilim insanı, bilimsel bilginin epistemolojisi ve bilim tarihinin yeniden yazımı olmak üzere dört tema altında toplanmaktadır. Bulgular Nolan’ın bilimsel bilgiyi soyut ve soğuk bir veri olmaktan çıkararak izleyicinin deneyimlediği ve ahlâki olarak yüzleştiği bir anlatı nesnesine dönüştürdüğünü göstermektedir. Etik ikilemler ile bilimsel anlatının kurduğu simbiyotik ilişki, bilimi olgu aktarımı yolundan ziyade deneyimletme yoluyla ileten anlatısal bir bilim iletişimi modeline işaret etmektedir. Çalışma bu modeli kavramsal olarak tanımlayarak bilim iletişimi ile sinema çalışmaları kesişimine katkı sunmakta ve modelin temsil açısından sınırlarını da eleştirel biçimde tartışmaktadır

Anahtar Kelimeler

• Bilim İletişimi
• Christopher Nolan
• Görsel Pedagoji
• anlatı
• Oppenheimer

Kaynakça

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