UDC 913 + 791.237
DOI: 10.30628/1994-9529-2026-22.2-15-29
EDN: DSXDAT
Received 21.02.2026, revised 09.06.2026, accepted 26.06.2026

HACER ÖZYANIKOĞLU
Cappadocia University
Cumhuriyet, Yesari Efendi Sk., 50400 Ürgüp/Nevşehir, Turkey
ResearcherID: QMQ-3670-2026
ORCID: 0000-0003-2099-1908
e-mail: hacer.ozyanikoglu@kapadokya.edu.tr

MUHAMMET ALPEREN YILDIZ
Cappadocia University
Cumhuriyet, Yesari Efendi Sk., 50400 Ürgüp/Nevşehir, Turkey
ResearcherID: QMQ-3703-2026
ORCID: 0009-0000-2553-5114
e-mail: alperen.yildiz@kapadokya.edu.tr

For citation
Özyanıkoğlu, H., & Yıldız, M.A. (2026). Cinematic geography and visual narrative in film posters and scenes: The case of Cappadocia. Nauka Televideniya—The Art and Science of Television, 22 (2), 15–29. https://doi.org/10.30628/1994-9529-2026-22.2-15-29, https://elibrary.ru/DSXDAT

Cinematic geography and visual narrative in film posters and scenes: The case of Cappadocia

Abstract. Cinema conveys its narrative and aesthetic elements not only through moving images but also through a visual language that extends from film posters to scene compositions. Narrative is not limited to a collection of characters and events; the space in which events take place constitutes one of its foundational components. Within a cinematic context, space transcends its function as a mere backdrop and becomes an active narrative element that generates atmosphere, produces meaning, and interacts with characters. Consequently, geography is directly linked to a film’s narrative structure, and the spatial images presented to the audience both reflect the emotional tone of the story and shape cultural representations of specific places.
Within the scope of this study, the interaction between narrative and geography is examined through a visual analysis of film posters and selected scenes from films shot in the Cappadocia region. Using a semiotic analysis method, the research investigates how Cappadocia is represented as a narrative space, an atmosphere-creating element, and a touristic icon.
Drawing on cinematic geography, visual culture theories, and the literature on place representation, the study demonstrates that film posters and scenes can be read not merely as aesthetic products but also as visual narratives that construct geographical memory. In this context, Cappadocia is evaluated not simply as a visual setting but as an integral component of cinematic narration and a site of cultural memory.

Keywords: Cinematic geography, Cappadocia, space in movie posters