film Öteki Taraf (2017) and Hadi be Oğlum (2018), Warner Bros. Türkiye, Universal's Turkish film Müjdemi İsterim, Warner Bros. Türkiye, Warner Bros.'s Turkish film Kırık Kalpler Bankası (The Bank of Broken Hearts) and CJ's Turkish film Acı Tatlı Ekşi (Hot Sweet Sour) (2017) and Deliha 2 (2018), and of A Turkish remake of Due Date (2010) and The Hidden Face (2011). Pre-1950s Most of the Turkish films produced before 1950 were projects initiated by import companies owned by local families, most notably İpek Film, a daughter company of the İpek Merchandise, an import company that was advertising in Ottoman literary journals such as Servet-i Fünun as early as the 19th century. Another important company in the early era of Turkish cinema was Kemal Film, a company whose continuous presence as a leading import company has been often overlooked for a few local films it produced during the 1920s. (The founders of Kemal Film bought their first film camera on loan from the Ipek Merchandise). Both companies were the strongest film distributors until the 1950s and the only companies that were financially sound enough to produce films themselves, with low risks for financial failure as they already were in possession of a distribution system and theatre chains that guaranteed a return on investment. However, the notable developments of these companies must be seen as necessary adaptations to the technological progress of the western film industries whose films they were importing. One example here being the establishment of the Marmara Dubbing Studio in the early 1930s, when the silent era came to an end in the West and sound films became the standard, prompting the import-dependent companies to adjust themselves to the new technological requirements. The big distributors in Istanbul, led by İpek Film and Kemal Film, gradually expanded their distribution system throughout the rest of the country during the 1930s, leading to the so-called "regional system" (Bölge İşletmeleri), which consisted of seven distribution areas headquartered in the most significant cities in those regions: Istanbul (Marmara Region), İzmir (Aegean Region), Ankara (Middle Anatolian Region), Samsun (Black Sea Region), Adana (Mediterranean Region), Erzurum (East Anatolian Region) and Diyarbakır (South East Anatolian Region). The Regional System became much more important after the 1950s, when local film production dramatically increased and local films surpassed imported films in both ticket sales and revenues. This system became the financial foundation of Yeşilçam (often referred to as "Turkish