In our country, the methods and procedures to be followed in compiling folk culture products began with a book published by the Folk Knowledge Association in the second quarter of the 20th century. Following this guidebook, many researchers and scholars carried out classification studies. Among them, Dursun Yıldırım and Sedat Veyis Örnek used an academic perspective in their works. The most recent classification was made by Ahmet Özgür Güvenç in his book Folklore and Cinema, under the subheadings Subjects Related to Daily and Ceremonial Life and Subjects Related to Narration and Verbal Expression, which he theorized as the Folklore-Centered Cinema approach. According to this approach, folklore-oriented films are to be analyzed through visual, auditory, and textual dimensions. As cinema is a visual art, the visual analysis constitutes the majority of the research. Elements of folk culture such as setting, space, economy, folk beliefs, and rites of passage seen in films should be examined within the visual dimension. In the auditory dimension, speech, accent, natural and artificial sounds, and music should be addressed. In the textual dimension, if the film is an adaptation, the type of adaptation and the comparison of the subtext and summary within the film should be analyzed; if it is an original script, language features and the coherence between script and film should be considered. The aim of this article is to analyze Atıf Yılmaz’s film Ölüm Tarlası (Death Field) based on the Folklore-Centered Cinema approach through visual, auditory, and textual dimensions. With the method used in this study, elements of folk culture in the film will be recorded and transmitted to future generations by establishing a bridge between the past and the future.