| Cultural Crowdfunding Platforms as Cultural Intermediator of the Art Field that Produce Symbolic Value | Şebnem SANKIR | 11–28 |
| Visual History Destroyed by Overthrowing 20th-Century Monuments | Sezer CİHANER KESER, Hanife Neris YÜKSEL | 29–50 |
| Anti-Hero Women in Contemporary Turkish Cinema | Selin KİRAZ DEMİR | 51–80 |
| Loss of Reality: Political Humor in The Movie Don't Look Up | Aziz COŞKUN, Aydın KAYMAK | 81–110 |
| The Meeting of Environmental Struggle with Art in The Context of Women, Nature, Art: Ecofeminist Art | Esra ERTUĞRUL TOMSUK | 111–127 |
| A View on Kracauer’s Concept of Found Story Through People on Sunday (1930) | Meliha Elif DEMOĞLU | 128–150 |
| The Effect of Casting on the Film Structure: An Example of Nuri Bilge Ceylan’s Cinema | Shyqyri CAUSHAJ, Zeynep ÇETİN ERUS | 151–182 |
| The Effects of Modernism on Contemporary Turkish Painting in the 20th Century | Emre ŞEN, Ayşe ÇIVKIN | 183–204 |
| Analysis of Early Watercolor Paintings by Thomas Girtin and Joseph Mallord William Turner | Orhan ERKAL | 205–241 |
| New Image Painters within the Context of the Pluralist Character of the 1970s | Havva DEMİRCAN | 242–265 |
| Immersive Experience of the Immateriality | Başak ŞİRAY | 266–277 |
| Istanbul Red in the Context of Adaptation Studies in Cinema | Aslı EKİCİ, İkbal BOZKURT AVCI | 278–295 |
| Becoming Woman in Table Secrets | Derya ÇETİN | 296–313 |
| Diegesis - Mimesis | Stephen HALLIWELL, Melike Saba AKIM | 314–326 |