About Movie Poster | History of Turkish Film Industry | Evolution and Characterstics of Turkish Movie Poster | Poster's Story: Four Types | Star Posters | Beefcake Posters | Phallic Woman Posters |  - 2
Within Turkish melodrama posters, the oppositions constructed upon the images of characters: the vamp VS. the innocent, the good VS. the bad, the tough VS. the sensitive, the one abandons VS. the one being abandoned might frequently be observedÖ These dualities are emphasised through visual means. The "bad" women who are always the secondary characters are mostly placed within the poster as a secondary element, depicted mostly in small size, or near the edges of the poster. Because of the active passive duality of looking and being looked at, men are mostly depicted in an activity as to deny the passiveness. Although doing no activity male poses give the impression of an activeness. Through the design of the Turkish melodrama posters what seems interesting is the outside (active) movement within the representations of the bodies of men: pointing at guns, raising fists, leaning backwards, so forth; while the women bodies are depicted just the opposite in an inside (passive) movement: closed arms, leaning on men, scared position, so forth. But the representation of woman bodies change according to the characters they symbolise: innocent women have the submissive inside movement while vamps and bad, provocative women characters have nearly the same outside movement like men. Also mostly the eyes of those, the direction of the looks have the same kind of movement.
|
When the bodily schemas of the male and
female figures are observed within the poster as the elements of design, an interesting difference might
be seen. The accapted characteristics of men and women seem to
be influential on their images: the female's bodily schemas are in a nutshell portraying the feminine sexuality;
the male's bodily schemas are reflexes of masculine sexuality.
In the poster of Kardes Kavgasi (The Fight of the Brothers, T¸rker đnano•lu, 1967) the
duality withinthe characters of woman is reinforced with the black and white colours and the styles of
the dresses and the direction of their body movements. While the white dressed woman keeps her hands in
her pocket and leans her head and look towards where the man stands indirectly, the woman in black and
decollete dress raises her arm and looks directly towards the man. Her body in fact has an outside form.
The man on the other hand is in a red suit resembling passion and activity, and he raises his arm and
looking directly at the girl in white dress. This makes clear the choice of him, which is
preferring to live romance with "the pure, the untouched, the protected", as every "real" man is
accepted to do in Turkish melodrama.
    |