It is frequent to establish intertextual relations between written and oral texts in academic writing but such relations being considered and investigated enough between oral culture and visual texts quite recently. It is possible to see, many fields of study when cinema is viewed as a text. And one of these fields is movies that based on folktales which can be evaluated within the relationship between cinema and oral culture. In addition of the fact that there are many similarities between general characteristics of folktales and movies with regard to form and technique; it is also observed that, folktales sometimes rewritten or reshaped in favour of the given movie. During this transition from folktales towards cinema, semantic changes arise. The given changes cause a reflection on secondary orality of the dynamic structure of folktales. Folktales maintain their presence by transforming morphologically and semantically in another context. This paper investigates morphologic and semantic differences and similarities between folktales and movies with the methods of intertextuality. For this purpose, movies that based on folktales such as Leyla Ile Mecnun Gibi (1963), Leyla ile Mecnun (1982), Kerem Ile Ash (1971) are analyzed. The reason for choosing these movies is their direct inclusion of the names and subjects of the folktales which exist in tradition. Ultimately, it is seen that, folktales are resituated in a different context: cinema by changing and generating various meanings. It is concluded that, resituated texts can be examined through the methods of intertextuality; folktales may serve as the resources for different types of texts in several contexts or they can complete a different text of another meaning.