This study explores the representations of national space and its borders in twenty-four action/adventure films with historical settings. It concentrates on film series featuring comic-book heroes: Tarkan, Karaoğlan, Malkoçoğlu, Battal Gazi, and Kara Murat, all produced between 1965 and 1978. These films were made at a time when Turkish cinema was experiencing its heyday in production and consumption. Some of them became blockbusters of the period and were watched by large audiences. At this point, the number of people is not possible because there are no box office records or any piece of credible information about ticket sales for any of the films. However, most of these films are still broadcasted on television channels. People still watch them, and are familiar with the image of a Turkish hero on his horse fighting against non-Turks. However, despite their popularity, none of them was taken seriously by the intellectual elite, who found them to lack artistic quality. Their prominent place in Turkish national memory, however, makes them effective tools for understanding different varieties of Turkish nationalism in the Cold-War period. In fact, films as cultural products are never independent of the Cold War political and historical context in which Turkey witnessed the rise of nationalism, political Islam, and isolation in the international arena due to its policies in Cyprus. The article, therefore, seeks a relationship between the context and the films. This is not a matching on a one-to-one basis, but the fact that these films exist within the same universe at the same time period with the political-historical context is meaningful. Thus, the paper makes a close reading of action/adventure films featuring comic book heroes such as Karaoğlan, Tarkan, Malkoçoğlu and Kara Murat. These films all take place in historically/politically significant geographies. And, despite the modern understanding of clearly defined borders, the films in my corpus imagine nation's boundaries in a much more fluid fashion based on imperial flashbacks for the modern audience. This representation may lead to the emergence of highly ambiguous, fluid, abstract and indefinite mental maps coexisting with specific, impermeable and static understanding. This, at the end, shows that the empire might have gone away as a political entity, but the idea of an empire with fluid borders could still live as a mentality, a culture, or even a political project.