The relationship between cinema and literature has been embodied on the axis of work-author, director-film, within the framework of the specific rules of art branches. The concrete equivalent of this relationship is the film adaptations that are the source of literature. Among the literary texts that are ready-made fiction for cinema, the primary preference is the prose works due to their narrative expressions. However, from time to time, it is witnessed that adaptations are made based on the texts of the poems, albeit partial. The unique features of the poem, the resilience of the image, the layers of meaning that emerge as they are drilled, the possibility of contributing to the meaning, the existence of symbolic language, the coherence between the expressions are the points that draw attention to the cinema, especially in the context of adaptation. This peculiarity of poetry is reflected in the film adaptation of some poetry texts. In Turkish literature and cinema, the poem of Fahriye Abla is important in that it is the first poem adapted to the cinema. The fact that it is the first poem to be adapted, the world of imagination, the intense interaction between the expressions in the spine of the text and the revealed meaning areas make the adaptation of the poem to the film interesting. By looking at this first experience from the perspective of poetry and cinema arts, some investigations were made about the possibilities of the two arts. In this sense, in the study, the sensitive points of the adaptations were emphasized by taking into account the nature of literature and cinema, and the film was evaluated with a critical point of view based on the analysis of the poem. In the adaptation, determinations were made about which meaning areas of the poem were obeyed and which ones it moved away from.

Fahriye Abla, adaptation, literature, cinema, literary text.