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The kind of compositional attitude helping the star's image to be more emphasised is the most commonly used arrangement in Turkish melodrama posters. Yesilcam cinema industry was mostly based on the star system where the films were arranged for the popular stars. Even the name of the star was written above as smashing headlines, in greater size than the name of the movie. The name of the star was so meaningful in terms of "star's image's career". As an example "Turkish cinema's Sultan" Turkan Soray is known to be the honourable virgin or faithful woman in her films which are supposed to be romantic or legitimate love stories through 1960s or 1970s. Movie posters with her image were also designed as to be appropriated by the audience. Other well-known stars and their images' careers are Ayhan Isik, Ediz Hun, Kartal Tibet as the handsome, passionate, loving and decent first men; Neriman Koksal, Susan Avci, Sevda Ferdag, as femme fatale, or fallen second women; Tamer Yigit, Kuzey Vargin as the loving but rejected, young second men; Atif Kaptan, Turgut Ozatay, Erol Tas as the powerful and the bad while Hulusi Kentmen, Vahi Oz, Munir Ozkul stand for the good-hearted, helpful men bringing the film an air of softness and comedy.

VEDA BUSESI---click for a larger image
ADD---click for a larger image

Sometimes there were two or three versions of posters for a single film. When a film was promoted in Adana, in its poster the actor or actress from Adana was emphasised. If the two stars of a film were either very popular or capricious then two different posters for each were designed as to please both of them and their fans. Besides telling what the movie was all about the poster as well as the lobby-cards and adds in the magazines were all about an announcement of a show, a variety of stars. Every cultural or social change was reflected in those posters. The contributors of the show are all announced or depicted on a single sheet as a result of the inability of deciding which to put on to the poster as to take the attention of the audience who did not have enough money or possibilities to watch a theatre play, musical show, or football as to satisfy all the tastes. Football players, a popular singer of that time, or a comedian are emphasised by slogans or by typography.

Yesilcam melodrama itself periodically stresses its own artifice or makes obvious that it is a fictional work. So it might be accepted to have a sort of self-reflexivity. By announcing "I am what you see", the posters might be accepted as self-reflexive just like the Yesilcam melodrama which was simple, direct and clear without the intention of disguising or symbolism. In the poster of Ayrilik Saati (the Time of Separation, Türker Inanoglu, 1967) the image of the poster of the star, Filiz Akin can be seen at the back of the star's image itself. So the star's persona is being revealed and the artificial setting, the mise en scene within the poster is made more evident.

MEMIS---click for a larger image
AYRILIK SAATI---click for a larger image

The technique illustration being used in the star poster gives the image an idealised, non-human, and fantasy effect like in the poster of Samanyolu (the Milky Way, Orhan Aksoy, 1967) as well as the illustration techniques like in the poster of Cok Yalnizim (I am Very Lonely, Mehmet Dinler, 1973) depict the star as a holy person or goddess. In the case of star posters this "holy" characteristic of the star is mentioned by the huge, exaggerated size of the head of him/her like in the poster of Veda Busesi or the nimbus like in the poster of Cok Yalnizim. Because Yesilcam melodramas were definitely constructed upon the identity of the star as myth or god and goddess the title of the movie itself is the idealisation of this star: D¸nyanin En G¸zel Kadini (The Most Beautiful Woman of the World, Nejat Saydam, 1968), Tapilacak Kadin (The Goddess, N. Saydam, 1967), Ask Mabudesi (The Goddess of Love, N. Saydam, 1969). So these slogan like titles those deserved to be underlined are emphasised by the typographic tricks like ornaments resembling the beauty of the star, font, colour, etc.

In Turkish melodrama, the concept can be said to have two dimensions. It is worked out on the plane of imagery. And hence within these movies' posters simple, easily understandable signifiers of the concept are preferred. In terms of the typography mostly ordinary or simple sans serifs are used probably because of the serial production or technical possibilities but still there are some interesting exceptions within their typographical arrangements. Within the design of Turkish melodrama poster sometimes a resemblance is constructed between the concept and the title of the movie like the using of the typeface that reminds historical Eastern calligraphy within the title of the poster of Cem Sultan (Sultan Cem, Remzi Jonturk, 1969). An other interesting typographic arrangement might also be observed in the poster for Samanyolu where the design of the title resembles the Milky Way itself.

Sometimes the slogan involving the director's name might be observed. It might be interpreted as the imitation of the foreign movie posters but in exceptional cases the audience gave importance to the name of the director like those of Metin Erksan, Lutfi Akad, Memduh Un. So their names were written in bold fonts like the title of the movies or the name of the stars. Mostly because of the fact that "commerce" and "serial production" is the main point of the films and the films were even directed by not the real directors but by their assistants then the director's name was written even smaller than the logo of the film production company while the star's name was written above the title of the movie.

CEM SULTAN---click for a larger image

The most frequently seen style being used in star posters is the framed image of a star within the poster like in the poster of the film Asktan da Ustun. Within this poster the image of the couple Zeki Muren and Filiz Akin hugging each other might be seen inside an ornamented picture frame. The name of the popular star and singer Muren is written above and outside the picture frame in bigger fonts while the dots of the letters "I" and "U" are depicted as stars. Single star images either inside frames or not make the poster seem to be not a movie commercial but something else. The star is displayed as the object d'art to be gazed upon. It seems the audience knows and at the same time denies the fact that stars on movie posters are simply singers, actors or actresses who are not fantastic, unreal, or sacred creatures.


ASKTAN DA USTUN---click for a larger image