Dialogue for Cinema as Cultural Heritage in Adana

Identification, recognition and community-based inventory of cinemas as the intangible cultural heritage in Adana via cross-border dialogue


This project focuses on cinema venues of Adana, Turkey, cinemagoing experiences in the city, and acknowledges such activities and assets as significant cultural values. It aims then to build a cultural dialogue between CSOs and other stakeholders operating in the field of culture (especially cinema/cinema-related activities) in Adana and the EU via establishing a network between organizations in Ghent and Antwerp in Belgium and Adana in Turkey. Cinemagoing activities as a cultural value and remains of cinema venues occur as intangible cultural heritage and must be preserved. Just like museums, art galleries, performance theatres, and a variety of cultural festivals, cinema venues, open-air or theatres, and cinemagoing activities make creative cities. From this perspective, cinema as a cultural asset is one of the major cultural capitals of Adana. The main challenge is that the authenticity of the social and cultural experience of cinema/cinemagoing and its capacity of community-building appears to be a vanishing value, especially after the 1980s. Therefore, the project aims to identify, recognize and regenerate this experience and make a community-based inventory of available tangible artefacts. In line with the Convention for the Safeguarding of the Intangible Cultural Heritage, this project also aims to safeguard cinema culture and its community-building potential as intangible cultural heritage via cross-border dialogue and to raise awareness on the issue at the local, national and international levels.



The project is funded by European Union under Grant Scheme for Common Cultural Heritage: Preservation and dialogue between Turkey and the EU-II (CCH-II).





  • Çam, A., & Şanlıer Yüksel, İ. (2020). Exhibitor’s Cut: Travelling Cinema and Experiences of Cinemagoing in Taurus Highland Villages during 1960-1980. TMG Journal for Media History, 23(1-2), 1–37. DOI: http://doi.org/10.18146/tmg.600