{"id":12336,"date":"2026-10-03T14:46:19","date_gmt":"2026-10-03T12:46:19","guid":{"rendered":"https:\/\/baraka.cc\/?p=12336"},"modified":"2026-10-03T14:46:24","modified_gmt":"2026-10-03T12:46:24","slug":"ekolojist-bir-animasyon-prenses-mononoke-cansu-arslan","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=12336","title":{"rendered":"Ekolojist Bir Animasyon &#8220;Prenses Mononoke&#8221; &#8211; Cansu Arslan"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"576\" src=\"https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2-1024x576.jpg\" alt=\"\" class=\"wp-image-12337\" srcset=\"https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2-1024x576.jpg 1024w, https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2-300x169.jpg 300w, https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2-768x432.jpg 768w, https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2-1170x658.jpg 1170w, https:\/\/baraka.cc\/wp-content\/uploads\/2026\/10\/mononoke-4-1310x737-2.jpg 1310w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/figure>\n\n\n\n<p>Egemenlerin o me\u015fhur \u201cb\u00fcy\u00fcme\u201d, \u201cilerleme\u201d ve \u201crefah\u201d masallar\u0131n\u0131 her g\u00fcn yeniden sorgulay\u0131p s\u0131n\u0131fsal ger\u00e7ekleri tart\u0131\u015f\u0131rken k\u00fclt\u00fcr \u00fcretimleri de radar\u0131m\u0131za girmelidir. K\u00fclt\u00fcr end\u00fcstrisi \u00e7o\u011funlukla bu masallar\u0131 beslese de bazen sistemin ezberini bozan anlat\u0131lara da alan a\u00e7abiliyor. T\u0131pk\u0131 1997 yap\u0131m\u0131, Hayao Miyazaki imzal\u0131 Prenses Mononoke gibi&#8230;<\/p>\n\n\n\n<p>Bir yeti\u015fkin animasyonu olan Prenses Mononoke, \u00e7izgi d\u00fcnyas\u0131n\u0131 \u00e7ocuklar i\u00e7in bir e\u011flence arac\u0131 olarak g\u00f6ren alg\u0131y\u0131 y\u0131km\u0131\u015f, bu d\u00fcnyay\u0131 derin bir felsefe alan\u0131na \u00e7evirerek s\u0131n\u0131fsal ve ekolojik \u00e7eli\u015fkileri t\u00fcm \u00e7\u0131plakl\u0131\u011f\u0131yla izleyicinin zihnine kaz\u0131m\u0131\u015ft\u0131r.<\/p>\n\n\n\n<p>Bu sinemasal manifestonun arkas\u0131ndaki deha olan Hayao Miyazaki, gen\u00e7li\u011finde Japonya\u2019da sendikal m\u00fccadelede yer alm\u0131\u015f, anime i\u015f\u00e7ilerinin haklar\u0131 i\u00e7in m\u00fccadele etmi\u015f; 2003 y\u0131l\u0131nda \u201cRuhlar\u0131n Ka\u00e7\u0131\u015f\u0131\u201d filmiyle Oscar kazanmas\u0131na ra\u011fmen, ABD\u2019nin Irak\u2019\u0131 i\u015fgalini protesto ederek \u00f6d\u00fcl t\u00f6renine kat\u0131lmam\u0131\u015f; filmlerinde s\u00f6m\u00fcr\u00fc ve do\u011fa tahribat\u0131n\u0131 s\u0131kl\u0131kla i\u015fleyen bir y\u00f6netmendir. Dolay\u0131s\u0131yla onun sinemas\u0131ndaki politik derinlik do\u011fa ve emek m\u00fccadelesinden gelen bir bilin\u00e7tir.<\/p>\n\n\n\n<p>Hikaye, g\u00f6r\u00fcn\u00fc\u015fte insanlarla do\u011fan\u0131n sava\u015f\u0131 gibi sunulsa da derine inildi\u011finde liberal ekonomilerin sinsi r\u0131za mekanizmalar\u0131yla y\u00fczle\u015fti\u011fimiz felsefi bir sorgulamad\u0131r. Bir tarafta, ya\u015fam alan\u0131n\u0131 korumak i\u00e7in vah\u015fi bir militanl\u0131\u011fa b\u00fcr\u00fcnen, do\u011fan\u0131n \u00f6fkesini simgeleyen San (Prenses Mononoke) dururken; di\u011fer tarafta kalk\u0131nma ve ilerleme ad\u0131na do\u011fay\u0131 ham maddeye d\u00f6n\u00fc\u015ft\u00fcren Demir \u015eehri\u2019nin lideri Leydi Eboshi yer al\u0131r. Bu ikili \u00e7at\u0131\u015fman\u0131n ortas\u0131nda ise memleketinden ayr\u0131lmak zorunda kalm\u0131\u015f olan Prens Ashitaka vard\u0131r.<\/p>\n\n\n\n<p>Filmin merkezindeki Demir \u015eehir, insanlar\u0131n do\u011fay\u0131 d\u00f6n\u00fc\u015ft\u00fcrerek \u00fcretim ara\u00e7lar\u0131n\u0131 geli\u015ftirmesini temsil eder. Ancak Miyazaki, bu geli\u015fmenin bedelsiz olmad\u0131\u011f\u0131n\u0131 g\u00f6sterir. Ormanlar yok edilir, hayvanlar ya\u015fam alanlar\u0131n\u0131 kaybeder ve do\u011fa, sermaye birikiminin ham maddesine d\u00f6n\u00fc\u015f\u00fcr. Film, teknolojik ilerlemenin hangi s\u0131n\u0131fsal ve ekonomik ili\u015fkiler i\u00e7inde ger\u00e7ekle\u015fti\u011fini sorgularken ne saf bir ilerleme iyimserli\u011fi ne de ge\u00e7mi\u015fe d\u00f6n\u00fc\u015f \u00f6zlemi sunar; as\u0131l mesele, insan\u0131n do\u011fayla kurdu\u011fu ili\u015fkinin nas\u0131l yeniden \u00f6rg\u00fctlenece\u011fidir. Ashitaka\u2019n\u0131n s\u0131k s\u0131k tekrarlad\u0131\u011f\u0131 denge aray\u0131\u015f\u0131, asl\u0131nda do\u011fayla uyumlu yeni bir toplumsal \u00f6rg\u00fctlenme ihtimalini i\u015faret eder.<\/p>\n\n\n\n<p>Bu filmin her zaman parlat\u0131lan k\u0131sm\u0131 ekolojik y\u0131k\u0131md\u0131r. Benim dikkat \u00e7ekmek istedi\u011fim as\u0131l nokta ise; do\u011fay\u0131 \u201cilerleme\u201d u\u011fruna talan eden Eboshi\u2019nin i\u015f\u00e7ilerinin ona duydu\u011fu minnet ve bu liderlerin g\u00fcn\u00fc geldi\u011finde onlar\u0131 kolayca g\u00f6zden \u00e7\u0131karabilmesidir. Eboshi, d\u0131\u015flanm\u0131\u015f insanlara emek temelinde bir ya\u015fam sunmu\u015ftur. Ancak bu ya\u015fam, g\u00fcn\u00fcm\u00fcz paternalist patronlar\u0131n\u0131n uygulad\u0131\u011f\u0131 r\u0131za \u00fcretiminin ayn\u0131s\u0131d\u0131r (Paternalist patron \u00e7al\u0131\u015fanlar\u0131n\u0131n iyili\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fc varsayan ancak onlar\u0131n \u00f6zerkli\u011fini s\u0131n\u0131rlayan y\u00f6neticidir.). \u0130\u015f\u00e7iler kar\u0131nlar\u0131n\u0131n doymas\u0131n\u0131 patronun bir \u201cl\u00fctfu\u201d san\u0131rken \u00fcrettikleri art\u0131de\u011feri fark etmezler. Eboshi bu hay\u0131rsever maskeyi takarken ekolojik y\u0131k\u0131m s\u00fcrer. T\u0131pk\u0131 g\u00fcn\u00fcm\u00fcz holdinglerinin do\u011fay\u0131 talan ederken sosyal sorumluluk projeleriyle g\u00f6z boyamas\u0131 gibi&#8230;<\/p>\n\n\n\n<p>Bu ikiy\u00fczl\u00fc \u201cbiz bir aileyiz\u201d miti kriz an\u0131nda par\u00e7alan\u0131r. Ashitaka, halk\u0131n ve i\u015f\u00e7ilerin tehlikede oldu\u011fu konusunda uyar\u0131nca Eboshi\u2019nin yan\u0131t\u0131 tam bir egemen refleksidir: \u201cOnlar ba\u015flar\u0131n\u0131n \u00e7aresine bakar.\u201d<\/p>\n\n\n\n<p>Bu yan\u0131t, emek\u00e7ilerin sermaye i\u00e7in kolayca feda edilecek birer piyon oldu\u011funu kan\u0131tlar. Kriz an\u0131nda pembe maske d\u00fc\u015fer, geriye so\u011fuk k\u00e2r-zarar hesaplar\u0131 kal\u0131r.<\/p>\n\n\n\n<p>Film bizi ka\u00e7\u0131n\u0131lmaz bir y\u0131k\u0131ma ve buruk bir y\u00fczle\u015fmeye s\u00fcr\u00fckler.Taraflar\u0131n mutlak zafer kazanamad\u0131\u011f\u0131 o son, s\u00f6m\u00fcr\u00fc ayg\u0131tlar\u0131 tamamen ortadan kalkmadan ger\u00e7ek bir kurtulu\u015fun m\u00fcmk\u00fcn olamayaca\u011f\u0131n\u0131 g\u00f6sterir.<\/p>\n\n\n\n<p>Kapitalist h\u0131rslar\u0131n geni\u015f kitleleri g\u00fcvencesizli\u011fe s\u00fcr\u00fckledi\u011fi bu d\u00f6nemde Prenses Mononoke\u2019yi izlemek \u00f6nemlidir. Bu film, \u00e7evreci romantizmi a\u015farak sermayenin do\u011fayla olan yap\u0131sal uyu\u015fmazl\u0131\u011f\u0131n\u0131 te\u015fhir eden ve s\u0131n\u0131fsal bilincimizi bileyen k\u0131ymetli bir \u00fcretimdir.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Egemenlerin o me\u015fhur \u201cb\u00fcy\u00fcme\u201d, \u201cilerleme\u201d ve \u201crefah\u201d masallar\u0131n\u0131 her g\u00fcn yeniden sorgulay\u0131p s\u0131n\u0131fsal ger\u00e7ekleri tart\u0131\u015f\u0131rken k\u00fclt\u00fcr \u00fcretimleri de radar\u0131m\u0131za girmelidir. K\u00fclt\u00fcr end\u00fcstrisi \u00e7o\u011funlukla bu masallar\u0131<\/p>\n","protected":false},"author":18,"featured_media":12337,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[40,67,38,9,42,1,39],"tags":[],"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/12336"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12336"}],"version-history":[{"count":2,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/12336\/revisions"}],"predecessor-version":[{"id":12339,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/12336\/revisions\/12339"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/12337"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12336"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12336"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}