The portrayal of the Roma in Turkish cinema during the 1980s reflects a blend of stereotypes and romanticism. The military coup marked a turning point in Turkish history, significantly affecting both social life and the cultural sphere. Giovanni Scognamillo and Zahit Atam highlight the economic and legislative impacts on Turkish cinema, such as the sharp decline in filmgoers, movie theaters, and film production. The biggest shift occurred ideologically and aesthetically. Along with the decline of Yeşilçam and the rise of censorship, mainstream cinema turned to "safe" genres like arabesque and comedy. As a result, films about the Roma from this period fall into these categories: Gırgıriye, Gırgıriye'de Şenlik Var (Festival at Gırgıriye), Gırgıriye'de Cümbüş (Revel at Gırgıriye), Gırgıriye'de Büyük Seçim (Big Election at Gırgıriye), Bizimkiler Of Of Emine (Ours-ugh ugh Emine), Çifte Nikah (Double Wedding), Şen Sulukule (Merry Sulukule, and Çingene (“Gypsy“). 

The „Gırgıriye“ series and its three sequels ares among the most popular films about the Roma in Turkish cinema. Frequently re-broadcast on national, satellite, and cable TV, they have shaped the public's perception of the Roma in Turkey over generations.

All the „Gırgıriye“ films are set in İstanbul’s famous Roma district, Sulukule. The titles alone reflect the lighthearted, comedic nature of the narratives. The Roma are portrayed as carefree and apolitical, focused on enjoying life, creating the lasting stereotype that they "drop everything to dance at the sound of 9/8 music." Most characters work in the music and entertainment business, despite day jobs like tinsmith or flower-seller. Unlike earlier portrayals, the Roma in these films are fully settled, speaking in a caricatured accent, and issues with authority are trivialized through humor. In the „Gırgıriye“ films, Roma characters often end up in the police station, but only due to playful family disputes, unlike the violence and theft shown in earlier portrayals. This shift positively challenges the stereotype of Roma as petty criminals. However, they are still depicted as "alcoholics" and "gamblers." The films also address the stereotype of Roma women as "unchaste," a perception reinforced by earlier portrayals from the 1960s. The „Gırgıriye“ series highlights the decency and honor of Roma women, while Roma men remain promiscuous. This reflects the neo-conservative shift in the 1980s and a reaction to the earlier porn film era.

Overall, the portrayal of the Roma in the *Gırgıriye* films focuses on exotic romanticism, showing a fictional community in Sulukule. In the first film, a TRT correspondent calls them " an idiosyncratic people with peculiar attributes who live in a cute, adorable district," reflecting the state’s view on Roma. This portrayal ignores issues like discrimination, unemployment, and poverty, instead highlighting playful debates among community members about their identities. Comedies from this period, like *Çifte Nikah* and *Şen Sulukule*, suggest that Roma can improve their social standing by making the most of opportunities, with characters often becoming famous music stars by the end.

„Çingene“, the only arabesque film in the corpus, is a political expression of suffering, poverty, and alienation in the Turkish context. The popular culture of arabesque began in the mid-1960s and grew in cinema in the 1980s. It can be seen as a form of counter-culture developed by poor rural immigrants in the devouring metropolis, resisting the cruelty of the capitalist economy. The film reflects the crisis of the "otherized" individual under societal circumstances and gives voice to the underdog of society. Çingene is the first film to articulate the problems the Turkish Roma face with a critical tone, such as poverty, social exclusion, discrimination, prejudices, and housing problems. However, it fails to discuss these issues in detail and is undermined by the populist approach and conservative attitude towards gender roles.

In conclusion, the films of this period often romanticize marginalized communities while reinforcing stereotypes, overlooking deeper social issues such as poverty and discrimination. Though some films touch on these challenges, they generally prioritize entertainment over a more nuanced exploration of these realities.