İAt the end of the 19th century, humanity began to see and perceive pictures in a way that no one had seen before in history. Camera filming has changed not only what we see but also how we look. A picture standing on the wall, like the human eye, can only be in one place in a period. The camera, on the other hand, began to copy it to be used in any size, anywhere, for any purpose. Neşet Günal's Soil Men, produced by Sami Şekeroğlu using 26 works drawn by his teacher, painter Neşet Günal, between 1961 and 1984, within the framework of his new perception and reinterpretation of the picture by the camera, is the hidden pinnacle of the art of appropriation in our cinema. one of its points. In this article, the relationship between cinema and painting will be examined, and the production process of Neşet Günal's film Earth Men, which spanned ten years, will be analyzed in particular, two subjects of appropriation, Neşet Günal and Sami Şekeroğlu. The reflection of the artists' feeding from similar roots and the harmony in the way they perceive the world to the production process of the film, which is the result of reproduction, will be analyzed. The appropriation process of the film was evaluated based on the information, documents and documents obtained. As a result of the evaluations, in this experimental film, which can be seen as the first of its kind, it has been seen that the artistic understanding of both artists has turned into a common product. This joint work has affected the art life of both artists.