This dissertation discusses the New Turkish Cinema, that is much more than a resurrection of the Turkish film industry after a long dark period. The New Turkish Cinema is also an era of greater creative freedom as a result of the relaxation of Turkey’s censorship laws. The long dark period also provided the New Turkish Cinema filmmakers with a dearth of political and social material from which to work with once the film renaissance begun in the 1990s. As demonstrated throughout this dissertation, the New Turkish Cinema did not hesitate to exploit these experiences of the Turks once film production escalated again in the 1990s. The New Turkish Cinema offers a rare and instructive inspection of the experiences of Turkey’s ordinary and traditionally oppressed citizens in both contemporary Turkey and during the politically and socially turbulent times of the dark ages of Turkey’s film industry. Thus as Turkey itself breaks from tradition in terms of political and discourse, so does Turkey’s film industry. For the most part, the political explorations of the New Turkish Cinema are reproducing the experiences of the politically oppressed. As demonstrated in this dissertation, audiences have seen first-hand the realities of the objectification of women in a largely patriarchal society. Audiences have also seen first-hand the experiences of the official discriminatory policies against the Armenians, the Greeks and other non-Muslim identities. In the final analysis, the New Turkish Cinema can be described as a new Turkish reality.