Salt Galata, one of the most important art and culture hubs in Istanbul, is hosting a research-based exhibition that examines the production activities in Turkey between 1955 and 1995 by looking into the material results of gradual industrialization, mass production as well as its contingent infrastructural disposals. The exhibition, which is compiled from objects and artifacts that were circulating in the 1980s, focuses on independent stories of the production environment in Turkey.The exhibition titled "One and the Many" traces the timeline of the period's material culture in relation to how it was made accessible in the public eye. By bringing together artifacts and stories from a wide variety of industries — including automotive, white goods, furniture, toys, stationery, pret-a-porter, textiles, food and beverage, tableware, cutlery, and hygiene — the exhibition informs consumers of less known narratives and allows them to add information that will expand research. It also bridges the period's ripple effects on the cultural economy by additionally introducing less common scenes from the practices of contemporary art and fashion: moments that expose the nurturing of a particular fascination with the concept of unique products.The exhibition which continues until Nov.13 and its accompanying programs are designed to provide multiple inclusive platforms for discussion on the topic. As a part of the exhibition, Cem Kaya, director of the documentary "Remake, Remix, Rip-Off" has curated a screening program that supports the general theme of the exhibition.Kaya states that the Turkish film industry, "Yeşilcam," has been widely accused of being a thief of ideas as he has encountered the term "çakma" (fake) used typically to identify it. It is actually correct that, thanks to the legal insufficiency of enforcing copyright regulations until fairly recently, Turkish filmmakers felt within their rights to appropriate other films. The act of copying could very well be identified as an act of learning. The lack of any educational departments for film in Turkey up until the 1970s, resulted in a generation of Yeşilçam filmmakers whose professional knowledge was limited to Turkish-dubbed Western movies. Played across theaters in Turkey in the 1940s and 1950s, such movies were the seeding samples for those who were then learning the crafts of filmmaking.Pressurized for various reasons including harsh censorship, lack of film productions and proper equipment as well as regulatory laws on cinema, the main "freedom" available to filmmakers was the lax copyright laws. Hence, they helped themselves by taking bits and pieces from the cultural pool of the entire globe, be it scripts, soundtracks and even film sequences. In this way, new productions emerged out of the existing, albeit often unpolished and raw and with a childish excessiveness; all attributes which proved much more creative and entertaining than anything mainstream cinema had to offer.Turkish mainstream cinema never really became an independent industry in and of itself. In Kaya's opinion, the same might be argued for other industrial fields where, in a similar way, production processes have not developed to the fullest; either technically or socially. He suggests that while Turkey serves as a major provider of cheap labor and industrial assembly, many of its local industries rely on assembly of modules produced abroad. This allows the internal market to be first shaped by commodities produced under license and, due to the lack of proper copyright laws, homemade derivatives are able to flourish locally. Under these circumstances can appropriation be considered a bad thing? Could there in fact be potential in copying just as there has been in the field of cinema?The selection for the "One and the Many" screening aims to portray two main trends in order to support the exhibition in its analysis of genuine originals and production culture: the first being the 1955-1995 social and economic setbacks experienced in Turkey and the second being the rip-off craze in the country which formed Turkish film.Here are the films that will be screened with English subtitles and free of charge as a part of SALT Galata's "One and the Many" exhibition:l Karanlıkta Uyananlar (Those Awakening in the Dark), 1964Directed by Ertem Göreç and written by prominent Turkish author Vedat Türkali, "Those Awakening in the Dark" is the first Turkish film to focus on strikes and workers' rights issues in the country. Depicting the constant struggles of paint factory workers, the film also narrates the challenges faced by the factory's young new owner by highlighting subjects of domestic industry and foreign capital.When: Oct.5Bitmeyen Yol (The Unending Road), 1965A social realist film "The Unending Road" portrays the Turkey of the 1960s during a time when internal migration and unemployment saw an intense increase. Following individual stories of a group of people who immigrated to Istanbul due to poverty, the film was banned by the Censorship Board on the basis that it showed all employers as evil. Directed by Duygu Sağıroğlu, the film is 93 minutes longWhen: Oct.12l Talihli Amele (The Lucky Worker), 1980Unforgetable Turkish director Atıf Yılmaz's film is a depiction of social satire portraying the transformation of a young man who immigrated to Istanbul to provide a better life for his family. With hopes to become a successful mason, he suddenly finds himself the star of a TV commercial. Drawing attention to the rising consumerism culture and its effects on individuals in Turkey, the film was permitted for release by a State Council verdict.When: Oct. 19"Bir Yudum Sevgi" (A Sip of Love), 1984Under the art direction of Gülsün Karamustafa and direction of Atıf Yılmaz, "A Sip of Love portrays a woman's struggle for independence while raising four children without the help of her husband. A critique on the social order and oppression -- particularly towards women in Turkey during that time -- the film was the recepient of five awards at the 21st International Antalya Golden Orange Film Festival including best actress, best film, and best director.When: Oct. 26Camdan Kalp (A Heart of Glass), 1990A bourgeois intellectual whose cinema career is in gradual demise develops a relationship with his house cleaner when he learns that she has been beated and cheated on by her husband. Rebelling against all these wrongdoings, he is confronted by harsh social realities in the most unexpected of places, all while trying to help the young woman. "A Heart of Glass" won the award for "Best Turkish Film" at the 10th International Istanbul Film Festival.When: Nov. 2