THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE

Abstract

The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.