The success of eytan and Dnyay Kutaran Adam at the Turkish box-office bears witness to the transculturality of the source-texts, as they link and undergo adaptation across borders, while avoiding congruence and uniformization. Cultural diversity arises in a new mode as a transcultural blend rather than a juxtaposition of source and target-texts eliciting value-judgments. The author says in the Turkish context, both films appeared during the Yeilam era, which flourished from the late 1950s through the early 1980s. This might be considered plagiarism from a Western perspective; in Turkish terms, this strategy was designed to make audiences as well as the creative personnel involved in making the film feel good about themselves, as they proved how capable they were of emulating the major Hollywood studios. Dnyay Kutaran Adam consciously challenged Western-inspired conceptions of originality and narrative coherence; in place of logic, director nan foregrounds repetition and dissonance, punctuated throughout with snatches of Hollywood action-film themes.