Turkish Cinema has made an important development in terms of content-story telling by creating its original language since the 1950s. In addition to this, it has existed for many years under inadequate technical and physical conditions, always lagged behind contemporary world examples in terms of its possibilities. Turkish Cinema has been a field of study that stubbornly tries to exist by not fi nding the political and economic interest it expects in its relations with the state. Although we can talk about improvements in terms of fi nancing and technical possibilities in today’s cinema industry; it turns out that we are in a cinema environment shaped by relations with the state, legal visibility, the irregular conditions of the unindustrialized sector and the results of the conditions of the past. For this reason, it has been delayed to focus on working conditions and employee rights which became controversial after the priority steps taken. The aim of this study is to examine the technical infrastructure of Turkish Cinema, the current political conditions and the structure between the sector components in a historical process comparatively. In this context, the relations between the production structure and working conditions were discussed in in-depth interviews with fi lmmakers who produced in different periods of Turkish Cinema. The information and opinions obtained through the interviews were interpreted under the following headings: relations with the state, economic structure, sectoral structuring.