摘要：This paper explores the film title design in Turkish cinema with the aim of understanding the link between Turkish cinema and Turkish graphic design. It is carried through first with the interviews with producers, directors, title designers, and an extensive use of iconography and textual analysis has been made first between the title and the poster of the same film, and then the titles of the same period. The study focuses on the early period of Turkish cinema during a unique time of political, economical, and social change. In these years, the new Turkish Republic is born with very significant reforms such as the new alphabet. This has also been the time of the first fictional film, first sound film, and the first advertising agency and commercial poster in Turkish. The earliest title sequence that could be reached date back to 1932. From this year on, until the 1950s, which is named here as the early years of Turkish cinema, we see the kingdom of lettering where the typographic elements dominate the titles. During the kingdom of lettering, early Turkish film titles reflect the conditions of the time in terms of film production and the changing society. The paths of Turkish cinema and graphic design seem not to be fully crossed yet; nevertheless we witness the birth of a new visual form and a new nation in these titles

摘要：With the mission of absorption of the capital through urban renovation, AKP （the Justice and Welfare Party） took over the metropolitan municipality administrations in big cities in 1995, and the Government of the Republic of Turkey in 2002. Together with the 2003 Mass Housing Act, 14 legal regulations were enacted between 2002 and 2008 to expand the field of activity and increase the funds of TOKI （Governmental Mass Housing Administration） which was already established during ANAP （the Motherland Party） Government in 1980s. As a result of those regulations, TOKI, as the ＂latest goddess of the construction myth＂, became the only authorized organization in the field of housing and land production in AKP＇s cities. It acquired new duties from generating profit-oriented projects to protecting historical texture, and it was authorized to make and approve zoning plans for the lands and plots handed over to TOKI of the last government （the Justice and Welfare Party） created as an investor-entrepreneur-contractor-performer group. This paper＇s aim is to indicate the transformation of TOKI foundation during the last twenty years, and also to prove that TOKI, as a governmental profit-oriented design tool, has demolished the unique DNA/morphological textures of the contemporary Turkish big cities by producing low profiled similar architecture and urbanity in the recent past.