Porte Akademik Uluslararası Müzik ve Dans Araştırmaları Dergisi, no.6, pp.98-107, 2013 (Peer-Reviewed Journal)
The imagination of erkek kadın (male-woman) had been popular type of the Turkish cinema industry between the years of 1959-1976 when the slanging jargon of Turkish cinema was charged by the actresses. In those years, the third type of the “woman”, male-woman was emerged, besides the ideal, immaculate, well-educated and well-behaved Turkish woman typology of modern republic ideology with the contrast image of nefarious and femme fatal woman. However the male woman is not built as unfeminine; she is a powerful woman who is a nonconciliatory character about their honesty. In that context, I focus on the characterization of male-woman figure in terms of peculiarities, socially construction and meanings, and I concrete the meanings and arguments over the Şoför Nebahat movies.