After the first commercial cinematographic screening in Istanbul, film screenings in the Ottoman Empire increased over time and began to attract the attention of governors and the public. These early contacts with the cinema show that the coming of the cinema to the Ottoman Empire means the entrance of a mass media vehicle born into a transnational structure. Cinematograph images have been circulated around many corners of the world by feeding a commercial interest, and the cultures have been watching each other through moving images that are reflected on the screen. Cultural indications reproduced in films on presentations have posessed the geographical traces they have taken to their frames. Cinema operators are in the pursuit of images, producers in new market areas and the audience pursues cultures that are far away from them. How has cinema been experienced in the early period in the Ottoman Empire, where oscillating between tradition and modern, East and West, sometimes carrying an identity beyond these polarizations? This study tries to understand the structure of the cinema which contains its unique dynamics in the Ottoman land through the impressions of images, cinematograph venues, viewing habits, presentation practices, audits, violations and cinematic impressions of the period.