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The "split" images of the masculine woman and the feminine one exist in this type of poster as a couple. This duality within the gender of woman as well as their common feature, which is being the object of sexual desire, is emphasised. The characteristic of this "split identity" is seen in the films and posters also like the opposition between the conservative, the good and the immoral, the bad. In Yesilcam melodrama poster of the phallic woman, the female has the active role of advancing the story and stands for the controlling figure that the spectator can identify. But even if the female is depicted as masculine femme fatale; the preferred gender is emphasised by the beautiful, feminine or cute image of the same or another woman. The gender differentiation within the woman herself as the "cute lady" and the "active femme fatale subjectivity" is expressed by the clothes, the posture and the gestures like that of smoking in the phallic woman posters.

In the poster of Gozleri Omre Bedel (Her Eyes Worth a Life, Ðlk¸ Erakalin, 1964) the emphasised figure in black dress, holding a cigarette, looking directly in the eyes of the spectator in a rather masculine femme fatal way seems to be the same woman in white wedding dress with the cute smile. Her presence makes manifest the male's impotence and there is a threat posed by her sexuality. But the allowable representation of femininity seems to rest and wait aside as "to drive the figure of excessive female sexuality into the ocean" (Doane 99). The two men in the poster are differentiated as the male being held and made happy by the bride and "the man in crisis" being destroyed, castrated under the knees of the phallic woman. And this underlines the statement that "the best woman is the lady of her house" and romance is safer and more rewarding with her.

GOZLERI OMRE BEDEL---click for a larger image

Doane, Mary Ann. "The Love Story." The Desire to Desire: The Woman's Film of the 1940's. Bloomington: Indiana UP, 1987: 96-123.