| Documentaries as Cultural Diplomacy:TRT Documentary's Discourses on Hagia Sophia | Lütfiye YAŞAR, Simge ÜNLÜ, Erdal BİLİCİ | 5–22 |
| Cinema as the “Weapon of the Enemy”:The Archaeology of an Islamist Film Criticism Discourse | Süheyla Nil MUSTAFA, Mesut BOSTAN | 23–36 |
| Reproduction of Islamophobia in a Digital Cloak:An Analysis on Digital War Game “Call of Duty” | Narmin ABDULLAYEVA, Düriye İlkim BÜKE OKYAR | 37–60 |
| Investigation of the Relationship between Online Privacy Concerns and Internet Addiction among University Students | Çağdaş Ümit YAZGAN | 61–77 |
| Postmodern Pandemic and Popular Religiosity:A Psychosocial Analysis Based on New Media | Ali BALTACI | 79–97 |
| Analysis of Niloya Cartoon in Terms of Values | Kübra UFAK, Bilal YORULMAZ | 99–112 |
| A Document Analysis on the Instrumental Value of Audiovisual Media in the Religious Education | Saadet İDER | 113–128 |
| Cultural Field and Symbolic Struggle in Turkey: A Thematic Analysis | Hüseyin ÇİL | 129–158 |
| The Dream That The Early Republic Interpret Favourably:Turkish Cinema between National and Contemporary Lines | Yusuf Ziya GÖKÇEK | 159–176 |
| Islamophobic Discourses in the Dictator and Bodyguard Series | Gülenay PINARBAŞI | 177–200 |
| The Desire for Immortality and New Initiatives in the Digital Age: The Example of the “Upload” TV Series | Ümit Harun AKKAYA | 201–226 |
| The Perception of the Islamic Prophet from Fiction to Reality:The Message | Ayşe ŞAHİN | 227–241 |
| The Representation of Muslim Arab Women by Nike andDiscourse Analysis on Heidegger's Concept of "Das Man" | Zeynep ŞEHİDOĞLU | 243–257 |
| Women in Baha Tevfik Journalism: Is it Envisagement or Representation? | Büşra T. DURMUŞ | 259–285 |