It is known that many images belonging to Muslims, Islam, and Turks have been used in many branches of fine arts during the Westernization period of Turkey. The images in question, which are represented in cinema, could be produced in both ‘iconic sign’ and ‘discursive’ ways. In this study, it is examined how the Western originated films, shot in Turkey, have created and reflected these images in the case of ‘Taken 2 (2012)’, co-produced by The United States and France. The elements of the Turkish- Islamic perception in the film were examined by determining semiotic analysis based on Saussure’s semiotics model. This study, specifying ‘Taken 2’ as the research sample, also discussed the other films, produced in Turkey, including the images of the Turkish- Islamic perception in Hollywood and European cinema. This study aims to determine the Turkish- Islamic perception and its presentation in these films through images and signs. Furthermore, the study importantly attempts to evaluate cinema not only as an entertaining, industrial mass medium but also as “an ideological tool”. As a result of the analysis of the representations, determined in the films over film frames, it is seen that images representing the Turkish- Islamic perception are generally used in such a way that leads to negative sensations. In the examined film ‘Taken 2’, Turkey and İstanbul, like in the other underdeveloped Islamic countries in the Middle East -the Turkish people especially, just like Iranians in the way they dress- were presented as a tribal state in which unlawful forces and acts were carried out for social order and justice.