The cinema of Turkey between World War II and the mid-1990s, termed “Ye?ilçam,” was marked by dubbing or post-synchronization, often performed by professional dubbing artists. My project is to investigate the gendered relationship between the post-synchronized cinematic voice and bodies. I contextualize this relationship within psychoanalytic discourse to understand how it exemplifies Turkey’s repeatedly charged and discharged national identity. I further engage with post-synchronized Ye?ilçam cinema in relation to the question of embodiment, absence, synchronicity and the hollow resonances of Turkish nationalism. I argue that post-synchronized “Ye?ilçam” films with their poor mise-en-scène, jarring editing, technical deficiencies and lower production values are more “audible.” In film theory, the psychoanalytical paradigm that shifts its attention from the look and gaze to the sound, focused specifically on the female voice. Feminist film theorist Kaja Silverman argues that the film “soundtrack is engendered through a complex system of displacements which locate the male voice at the point of apparent textual origin, while establishing the diegetic containment of the female voice.” It is this very sort of diegetic containment that women characters in Turkish cinema, as a badly synced audio/visual phantom, seem to confound. In most post-sync Turkish films, sound almost seems to be transmitted through women’s bodies as if they were a receiver, like an antenna or passive mirror of sound. I address the example of Türkan ?oray, the so-called “Sultan of Turkish Cinema.” She is the most recognizable film star in Turkey for nearly 50 years, yet she has been voiced by four different actors. I connect this case to Turkish cinema scholar Umut Tümay Arslan’s note that women characters of Ye?ilçam represent either a threatening West or a virgin East waiting to be cultivated. This representation of corrupted morality through women defines the women and the Turkish national identity. Voice acts as a national blanket to cover up those different women bodies, to tame them, and give them a definition no matter how different their characters and actions are. Dubbing within post-synchronized Ye?ilçam flattens and homogenizes onscreen female bodies, concealing female physicality.