BAK YEŞİL YEŞİL: EKOSİNEMA KURAMI ÜZERİNE

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.

Anahtar Kelimeler:

Çevrecilik, ekoeleştiri, ekosinema, Solar Cinema, sürdürülebilirlik

GREENER: ON ECOCINEMA THEORY

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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