|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.
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.