خوانش سينمايي از اشعار رضا براهني

“Imagery” an‎d the way of treating images, along with “narration,” are the most fundamental points of commonality between poetry an‎d cinema. These two characteristics in poetry, when viewed through the lens of cinema, can be adapted to the concepts of mise-en-scène, cinematography, an‎d editing in terms of rhetoric an‎d the way of constructing an‎d presenting images, an‎d to cinematic narrative in terms of storytelling. Based on these aspects of commonality, in this study, we analyze an‎d examine Reza Baraheni’s Nimai an‎d postmodern poems from an interdisciplinary perspective from the perspective of dramatic an‎d cinematic capacities. To put it more clearly, the aim of this research is to analyze these poems from the perspective of the appearance of cinematic narrative components (narrative style, narrative approaches, an‎d characterization) as well as the elements that make up the cinematic image, including mise-en-scène (scenography, lighting, costumes an‎d makeup, character behavior, sound), cinematography (shot size, filming angle, an‎d camera movement), an‎d editing (continuous an‎d montage). In this regard, after classifying an‎d explaining the key cinematic components, we examined the appearance of these components in Reza Baraheniʹs poems using an analytical-descriptive method an‎d conducted a quantitative an‎d qualitative study of them with a comparative perspective. In general, the findings of the research indicate that Reza Baraheni, by adhering to principles such as objectivity an‎d paying attention to the element of description, achieves cinematic applications of mise-en-scène, filming, an‎d editing in his poetry, an‎d also by utilizing narrative techniques in his Nimai poems, provides a suitable platform for adapting cinematic narrative patterns. It should be noted that this trend is transformed in Baraheniʹs postmodern poetry through formal an‎d aesthetic differences an‎d takes on a different image.

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