The film industry that developed at the end of the 19th century played a role in improving the masses, first visually and then aurally. The nation-states that became aware of this situation, especially Germany, began to use films in creating a collective national identity. As for Turkey, it became involved in the film industry with the contributions of Enver Paşa, who was under intense German influence. However, only documentaries, feature films, and films based on the Turkish national struggle were made until the 1950s. In the 1950s, there was an evolution in the film industry, as in every other area of Turkish life. Kostüme avantür films, a genre specific to Turkey using real or fiction characters whose stories were adapted into a film from comic strips, were introduced. These films based on historical figures attracted a great deal of attention between 1970-1980 along with the effect of internal and external political developments. Among these films, the Kara Murat series was especially prominent. The present study aims to look into the discourse on Turkish identity in the Kara Murat series within the scope of collective identity. In this regard, the Kara Murat series shown between 1972-1978 were subject to a discourse analysis based on such categories as identity, conqueror and Conquest, the “other”, and “us”. As a result of the study, it was seen that the Turkish identity discourse in these films was based on Ottoman history. Article visualizations
