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Assoc. Prof. Hülya Uğur Tanrıöver<br />
Assoc. Prof. Hülya Uğur Tanrıöver, Galatasaray University, Faculty of<br />
Communication, Department of Cinema, Manager of Media Studies Research<br />
and Application Center (MEDIAR). She does researches on film theories,<br />
sociology of cinema and TV, audience reception theories and gender studies.<br />
She has many scientific publications in fields such as cinema industry in<br />
Turkey, TV culture, representation of women in media and cinema. Besides her<br />
academic studies, Uğur Tanrıöver who is active in cinema and TV fields,<br />
working in positions such as consultant and TV host, is engaged actively in the<br />
struggle against genderism. For more information: http://www.gsu.edu.tr
...................................................................................................... 9<br />
7<br />
................................. ll
7.2. Game shows ....................................................................................... 67<br />
7.3. Women-targeted showson daytime TV ............................................. 69<br />
7.4. News and Debate shows ..................................................................... 70<br />
8. The main fınancial source of TV B roadeasting : Commercials and<br />
spansorship .................................................................................................... 73<br />
9. Television viewing practices and audi en ce characteristics ........................... 83<br />
10. Objectives and expectations in TV broadcasting ........................................ 91<br />
Bibliography .................................................................................................... 103<br />
Other ................................................................................................................ 106
strength<br />
occurrence of purchasing<br />
,..,,.,.,,..... +~ .... T has the<br />
o ur
the journal named "The position of Film Industry in Turkey and Its Targets"<br />
which has been published before by Our Chamber will be the broadest studies<br />
of the sector.<br />
This study has been prepared in order to follow the changes in social,<br />
economical and cultural structure of Turkey and form the basis for the people<br />
who will do research about Turkish Television, specialists who will determine<br />
the cultural policy and foreign producers who want to do business especially<br />
with Turkish producers and develop the attempts in this respect.<br />
With regard to this, I thank to Associate Professor Hülya Uğur Tanrıöver<br />
and her team who does this research named "Television Broadcasting in<br />
Turkey", w hi ch indi ca tes the development of Turkish television broadcasting<br />
from the beginning until taday and required to be evaluated together with<br />
cinema seetar which is a strategic industry and I wish it will be useful for our<br />
members and relevant persons and organizations.<br />
Dr. Cengiz ERS UN<br />
Secretary General
Today Turkish TV series which have become an important element of, not<br />
only TV but also of cinema industry are one of the common values of society.<br />
These productions are exported more and more frequently to different countries<br />
and Turkey is considered to be similar to Brazil of a certain era in this context.<br />
TV series are not the only productions that are exported. Many original TV<br />
shows or game shows outlast their success in numerous countries from Italy to<br />
China.<br />
İstanbul Chamber of Commerce who takes heedof key industries in our<br />
country contributes largely to the development and marketing of this field by<br />
supporting this m uc h needed study on TV broadcasting. W e would like to<br />
mention Dr. Ayşe Toy Par and R.A. Ece Vitrinel of Galatasaray University<br />
Faculty of Communication for their intensive contribution and R.A. Barış Kara<br />
for his support. W e would like to thank them and Ms. Mü ge Özen, Mr. Zafer<br />
Çeler, Ms. Hatice Bakanlar who translated this study to English.<br />
This study which aims to present a general panorama and to share some of<br />
the existing literature and sources on the discussed subjects is descriptive by its<br />
definition. Certainly, it will be benefıcial to conduct fresh and more extensive<br />
studies in this field to produce authentic datas.<br />
Assoc. Prof. Hülya UGUR TANRlÖVER
were ._..._.,JIJ'-"" .... "''-' .... ~ ........<br />
countries<br />
these technologies<br />
developed, TV broadcasts have a tardive start. attempts of broadcasting<br />
953 University;<br />
absence of a transmitter, broadcasts were restrained<br />
public broadcasting was enabled by of<br />
broadcasting<br />
It is possible to<br />
histarical "~uu.ı"""·<br />
no.210, Ankara, 1989.
12 İSTANBUL CHAMBER OF COMMERCE<br />
Similar to the BBC model that was used in the country as an example by<br />
the supporters and executives of this attempt, the first years of TV broadcasting<br />
in Turkey are defined by public broadcasting. The primal objective is to offer to<br />
the public the news with sound and image, educational and inforınative content<br />
via this new technology. The very essence of this approach which prioritizes<br />
public service is the execution of TV broadcasts by an autonomous institution<br />
in a politically impartial manner. However, as seen on the table below which<br />
show s the important mo men ts in Turkish television history, Turkish Radio and<br />
Television Corporation' s (TRT) principle of autonomy was abrogated in 1971<br />
during another military intervention, preserving only the principle of<br />
impartiality.<br />
The 70s, the decade in which audiences really got acquainted with<br />
television, represent also a one-channel system period producing content in<br />
accordance with state monopoly. Although the broadcasting hours had<br />
increased, seven days a week broadcast had started and reaching all parts of<br />
Turkey was planned; a widespread access could not be maintained due to<br />
technical and socio-economic problems.<br />
Nevertheless, when analyzed sociologically, it is observed that, even ın<br />
those years when not every household passessed a TV, nearly everyone had<br />
already become aTV viewer, and that the seeds of "TV culture" which would<br />
take shape 40 years later, were planted at those times. The interest of public in<br />
this medium even in its first years can be explained by the attachment of the<br />
public to preceding visual culture products, especially to cinema. Asa matter of<br />
fact, the particular intere st of viewers in TV dramas is a strong indication of the<br />
transitivity between these two mediums and of the transformatian of TV series<br />
to an independent "social fact" today. In its first years, TV has also been an<br />
instmment of intensive socialization. In those times when the level of<br />
equipment was poor at households, it was a common practice to visit families<br />
who had TV on days that important shows were on and to watch the show<br />
question with them. "Tele-visiting" has triggered coınmentaries about the TV<br />
shows, arguments that were linked to subjects discussed on TV and also has
TURKISH TELEVISION BROADCASTING 2011<br />
an era limitations on<br />
name of public broadcasting caused serious problems
ı 4<br />
İSTANBUL CHAMBER OF COMMERCE<br />
accordance with the governınent ideology: belly dancing, "arabesque" 3 which<br />
was the most popular local music genre, some of the popular comedy films<br />
which were considered inappropriate because of the slang expressions they<br />
have contained although were applauded during their release in theatres, were<br />
among the programs that were banned.<br />
As will be seen in the reıated c hapter bel o w, during the reign of Ozal<br />
governınents 4 , which processed towards a normalization period after the coup<br />
d' etats and towards the implementation of liberal economy, legal regulations on<br />
TV broadcasting area have commenced. During this period in which state<br />
monopoly stili persisted, TRT has first started broadcasting on a second<br />
channel, and then on a third one which focused on local broadcasting targeting<br />
South Eastem regions. However, it was obvious that the expectations of the<br />
viewers could not be fulfilled by TRT. Turkey's first private (commercial) TV<br />
station Magic Box, although illegal, has started its broadcasts from abroad in<br />
ı990 by the help of satellite technology. This new channel, which was not<br />
bound by the existing legal structure in the country, became the hotspot of<br />
audi en ce s with the diversified altematives of programıning it had offered.<br />
After 30 years of state monopoly, TV has formed one of the privileged<br />
areas for private entrepreneurs.<br />
So m uc h that, Turkey w as introduced to ı O different new channels within a<br />
few years in 90's; the competition between the TV channels has nourished the<br />
search for new formats and contents and also has accelerated the growth of<br />
advertising industry and even of the communication industry in general. This<br />
actual (de facto) situation has generated the need for legal regulations in TV<br />
For a sociological study on arabesque music cf. Meral Özbek, "Arabesk Culture: A Case of<br />
Modemization and Popular Identity", in Rethinking Modernity and National Identity in Turkey,<br />
Sibel Bozdoğan and Reşat Kasaba (eds.), Chapter 12, University of Michigan Press, 1997.<br />
http://library.northsouth.edu/Upload/Rethinking%20Modemity.pdf, 01.08.2011<br />
Turgut Özal was PrimeMinister of Turkey between 1983-1989 and eighth President of Turkey<br />
(1989-1993). He is known by his liberal economic views and by paving the way for the<br />
privatization of state enterprises.
TURKISH TELEVISION BROADCASTING 2011 15<br />
area.<br />
on<br />
on<br />
1964<br />
1981<br />
1986<br />
1989<br />
Radio and TV<br />
station started its<br />
First broadcast in color was actne"ired NewYear's<br />
New TRT Law No. 2954 was acc:ep1cea.<br />
TRT 2 started its broadcasts.<br />
Cable TV bro:adc:ıstuıg<br />
TRT 3 and first channel ınt~encled to local viewers TRT GAP<br />
their broadcasts.<br />
The fırst<br />
Box started<br />
1992<br />
1994<br />
1992<br />
1993<br />
reg;uı~mo~n<br />
TAM TURKEY the audience measurement<br />
m eter<br />
that abolished the state mcmopoJlY over radio and .TV<br />
Broadcasts",<br />
1996 First thematic news cha.nm~ı,<br />
TV agreement
1 8 İSTANBUL CHAMBER OF COMMERCE<br />
Montly Time Turkish Population Spent on Cultural Activities (Hrs)<br />
• Total • Ma le • Female<br />
87,486,588,4<br />
0,70,70,7 1,31,11,5 0,60,60,5 1,41,41,4<br />
7,7 9 6,4<br />
0,60,50,7 0,30,20,4<br />
Cine ma Radio Television Video Listening to Written Music and Other<br />
and media and performing cultural<br />
recording books arts shows field s<br />
mu sic<br />
Source: TURKSTAT (2006), http://www.tuik.gov.tr<br />
Today Turkey is one of those countries that TV broadcasting is roaring ın<br />
terms of number of broadcasters and programıning diversity. All with different<br />
technical facilities, sorne with a nationwide and others with local network access,<br />
the total number of TV channels is 475.<br />
Tab le 2 - The Number of TV B roadcasters<br />
Features<br />
National 24<br />
Region al 15<br />
Lo cal 210<br />
Cable 78<br />
Sa tellite 148<br />
TOTAL 475<br />
Number<br />
Source: http://www.rtuk.gov.tr
TURKISH TELEVISION BROADCASTING 2011 19
20 İSTANBUL CHAMBER OF COMMERCE<br />
TV reaches 98% of the Turkish population. In this diversified broadcasting<br />
system where the viewers can choose the channels they like according to their<br />
tastes and needs, there is a very strong competition between the TV channels,<br />
as will be discussed in the relative chapter.<br />
W ith the emergence of new mediums in the past years, the advertisers are<br />
now obliged to allocate their advertising budgets and this situation pushes TV<br />
stations, like everywhere else in the world, to try new ways in order to attract<br />
the attention of the audiences. High viewing shares are the primary trump that<br />
TV channels use to persuade advertisers.<br />
In Turkey, TV viewing shares are being measured by an electronic "people<br />
meter" system since the 1990s, in other words since the first years that<br />
commercial TV channels started broadcasting and increased the total number of<br />
TV stationsin the country. Until2010, the scrutiny that this system required is<br />
executed by Nielsen TAM Turkey (Nielsen Television Audi en ce Measurement<br />
Turkey). This system imposes a syndicated research model which works with<br />
nearly 3.636 "people meters" in 2500 households all over Turkey and makes<br />
projections about the Turkish population over 5 years of age based on viewers'<br />
TV viewing habits. The system is financed by the member institutions and it<br />
puts the detailed data into the service of financers. This measurement system is<br />
criticized for i ts various aspects such as i ts application method ( technical<br />
difficulties, the criteria of family selection), segmentation of some categories<br />
( especially socio-economic segments) that are us ed to present the results and<br />
ethical inquiries ( financially aiding the participants un der the name of gifts) 7 .<br />
As a result of these criticisms, TIAK. 8 (Television Audience Surveys<br />
Corporation), which was initially founded under the name of "Television<br />
Viewing and Re search Committee" in 1992 by advertisement corporations and<br />
advertisers, has decided to call for tenders in 201 O for this measurement in<br />
These kinds of critics are not specific to Turkey only. For a general presentation ofmeasurement<br />
methods anda study on European examples c. Jean-Michel Brignier vd., Mesurer l'audience des<br />
medias, Ed. Dunod, Paris, 2002.<br />
http:/ /www. tiak. com. tr
TURKISH TELEVISION BROADCASTING 2011 2<br />
measurements<br />
51.2<br />
than 100% s ince each ""''.,-1"'"''"",'"'~- can<br />
more than one answer to each qw~stıon.
22 İSTANBUL CHAMBER OF COMMERCE<br />
These data gathered by face-to-face survey methodology is reaffırıned by<br />
the data obtained via people meter ( electronic audience measurement) system.<br />
The difference between the percentages stems from the difference between the<br />
measurement/ survey methods; but the ranking among the most popular<br />
channels stays the same, as can be seenin the table below.<br />
Tab le 4 -Most popular TV channels according to viewing shares<br />
Channel %<br />
D 14.0<br />
SHOW TV 10.6<br />
ATV 9.9<br />
STAR 8.6<br />
FOX 8.1<br />
STV 5.7<br />
Source: Mindshare, 2010 (2009 data)<br />
The RTSC research asked the subjects which channels they would prefer if<br />
they had to watch just one channel. The result shows that the fırst two ranks do<br />
not change, but it is interesting that TRT channels rank third. 10<br />
10<br />
It is a methodologically controversial interpretation to reduce numerous TR T channels to one<br />
single unit and compare it with other singular channels .
TURKISH TELEVISION BROADCASTING 2011<br />
5 you were would<br />
Channel<br />
17.3<br />
Source TV<br />
RTSC
24 İSTANBUL CHAMBER OF COMMERCE<br />
gain the terrestrial digital TV multiplex capacity allowance right 11 in the call<br />
( according to the ir rank in the call and the ir analogue channel capacity and as<br />
long as they pay the annual frequency fees) will als o be given the right to<br />
analogue broadcast along with digital broadcast for two years at most.<br />
However, following two year period after the allowance analogue terrestrial TV<br />
broadcasts are going to be abrogated all over the country. That is to say that by<br />
2015, the only terrestrial broadcasting format in Turkey will be digital (DVB<br />
T).<br />
Narroweasting<br />
Narroweasting in Turkey began in 1988 with the foundation of Kablo TV,<br />
an affiliated corporation ofTurk Telekom., Kablo TV was detached from Turk<br />
Telekom after the decision to privatize the latter, and became an affıliate of<br />
Türksat A.S. Türksat Kablo TV fumish services in 2ı cities and has about 1<br />
million 275 thousand subscribers. 12 The number of TV channels which<br />
broadcast solely via cable TV is 78. 13<br />
The transition period of narroweasting to digital began with the digital<br />
broadcasting Turksat started in 2008 in ı 7 cities with 8 channels, first ones<br />
being TRT channels. There are now ı27 TV channels, ı2 of them being HD<br />
and ı 15 of them being SD, on this platform called Teledünya which uses the<br />
infrastructure of Kablo TV that does not require a dish antenna. 14<br />
ll<br />
12<br />
13<br />
14<br />
According to the Ciause 3rd of RTSC Law No. 6112, "multiplex", signifies the method used to<br />
unify numerous terrestnal broadcasting services in one or more signals; "multiplex capacity" is<br />
the capacity within the multiplex that is reserved for the transmission of a digital broadcast for<br />
VHF, UHF or FM radio frequency bands, terrestrial TV or radio broadcasts.<br />
Ceren Sözeri, Zeynep Güney, ibid.<br />
Declaration ofRTSC President Prof. Dr. Davut Dursun:<br />
http://www.rtuk.org.tr/sayfalar/IcerikGoster.aspx?icerik_id=5605f266-84ca-4328-90db-<br />
2b53ab31515b<br />
Türksat, http:/ /www. turksat.com.tr/content/view/122/2 14/
TURKISH TELEVISION BROADCASTING 2011 25<br />
15<br />
16<br />
17<br />
18<br />
T.C. Başbakanlık Devlet Planlama Teşkilatı, Dokuzuncu Kalkınma Planı, "Bilgi ve İletişim<br />
Teknolojileri Özel ihtisas Komisyonu Alt Komisyon Raporu", Ankara 2007<br />
www.dpt.gov.tr/Doc0bjects/Download/3201/oik696.pdf<br />
Declaration ofRTSC President Prof. Dr. Davut Dursun:<br />
2b53ab31515b<br />
6c3d295ca079
26 İSTANBUL CHAMBER OF COMMERCE<br />
broadcasting has decreased by half while the number of households which<br />
prefer digital is multiplied by 3,5. 19<br />
Tablo 6 - Broadcast receiving forms in households (% 20 )<br />
2005 2006 2007 2008 2009 2010<br />
Terrestdal 77 63 55 47 42 36<br />
Cable ll lO 8 9 8 8<br />
2.2.4. Internet Protocol TV (IPTV) 21<br />
21 40 51 60 68 72<br />
Source: Nielsen, TV Annual 201 O<br />
The ground work Internet based TV broadcasting started in 2008 and after<br />
a trial period of ı,5 years, TTNET, the internet affiliation of Türk Telekom<br />
launched Turkey' s first and only IPTV platform called IPTivibu in three<br />
metropolis in September 20ı0. Even though the platform did not do any<br />
advertising, it has reached 5.000 subscribers by the end of 20ı0. In February<br />
20 ı ı, it changed i ts name to Tivibu Ev (Tivibu Home) and ıaunched a major<br />
advertising campaign. Its target is to reach over 20 thousand subscribers by the<br />
end of20ı 1.<br />
The two prerequisites that enables the purchase one of three subscription<br />
packages of Tivibu Ev, which offers a total of ıo6 channels 53 of them being<br />
19<br />
20<br />
21<br />
''Nielsen TV Yıllığı 2010- Hanelerde Sahiplik ve Yayın Alma Şekilleri"<br />
http:// smgconnected.com/tv-yilligi-201 O-hanelerde-sahiplik-ve-yayin -alma-sekilleri<br />
The total percentage is over 100%, s ince the transmission method within a household can vary<br />
(for example cable and terrestrial at the same time).<br />
The informationusedin this seetion is taken from Ertuğrul Acar, "Türkiye IPTV 2010 Raporu",<br />
March 2011. To read the report: http://iptv.org.tr/iptv/?page_id=264
TURKISH TELEVISION BROADCASTING 20 ll 2 7
30 İSTANBUL CHAMBER OF COMMERCE<br />
in every two years. The Supreme Council members shall elect a president and a<br />
vice-president among i ts members. The term of Presideney is two years. " 22<br />
The main function of RTSC is to allocate channels and frequency bands, to<br />
verify the compliance of broadcasts with the provisions of the law and to decide<br />
on the relevant sanctions in cases of violation. R TSC is entitled to make the<br />
decisions in many vital fields for today' s b roadeasting such as the regulation of<br />
advertising breaks, prevention of capital concentration of ownership and<br />
conducting public opinion surveys in order to collect the necessary data of<br />
broadcasting.<br />
The experience gained by the practices in the past years, the need to make a<br />
change in the law regulating the TV broadcasts arose and The Law on the<br />
Establishment Radio and TV Enterprises and Their Broadcasts No. 6112 was<br />
adopted on F ebruary 15th, 201 1 and cam e in to effect in March 20 ll.<br />
The most important changes that this law brings can be summarized up as<br />
the following 23 :<br />
The share of foreign capital in one private radio or television enterprise is<br />
increased from 25% to 50%.<br />
The advertising of over the counter medicines is allowed.<br />
The TV stations are allowed to broadcast 12 minutes of advertising at most<br />
for each one hour broadcast. This way the channels can give advertising<br />
breaks every 20 minutes can broadcast 12 of advertising<br />
total. This period of 12 minutes in an hour's broadcast can be used as<br />
wished. So channels, instead of broadcasting advertising every 20 min u tes<br />
as it was foreseen by the form er law, they can broadcast it whenever they<br />
like as long as it does not exceed the 15% of the daily broadcast.<br />
22<br />
23<br />
http:/ /www .rtuk. gov. tr<br />
"Yeni RTÜK Kanunu Neler Getiriyor?", 16.02.2011, http://www.ntvmsnbc.com
TURKISH TELEVISION BROADCASTING 2011 31
34 İSTANBUL CHAMBER OF COMMERCE<br />
Today, TRT owns ıs channels, each one of them being different than the<br />
other in terms of content, language, co verage area and target audi en ce (so me of<br />
the thematic channels contents are broadcast on the same channel altemately).<br />
Among the se channels, the mostly mentioned is TR T 6 (TR T "Shesh"), the<br />
first TV channel in Turkey to broadcast in Kurdish which was launched on<br />
J anuary 1 st, 2009. The legal infrastructure in Turkey where official language is<br />
Turkish according to the Constitution has prevented broadcasts in any other<br />
language until today. This situation caused the exclusion of the communities,<br />
especially Kurds, who are the citizens of Turkish Republic but not ethnically<br />
Turkish and who would like to use their native language and make it visible,<br />
from the broadcasting field. It is known Kurds who live in Eastem and South<br />
Eastem parts of the country watch Kurdish TV channels that broadcast via<br />
satellite from abroad. It is possible to access via satellite to ı2 channels<br />
broadcasting in different dialects of Kurdish and reflecting different political<br />
tendencies. Establishing a public TV channel to broadcast solely in Kurdish<br />
came up as a part of "democratic reforms" which w ere initiated in 2009 by the<br />
govemment of the period in order to discuss the identity demands of different<br />
ethnical, cultural, religious ete. groups and decide on the necessary policies in<br />
this field. This attempt which has important symbolic denotations such as<br />
improving intercultural communication and recognizing diverse identities has<br />
brought forth the regulation of the law on radio and TV that prohibits<br />
broadcasts in languages other than the official language. The new law adopted<br />
in 20 ı ı, allows broadcasts in other language s, but aıso includes the phrase<br />
"B roadeasting in Turkish is fundamentaı".<br />
TR T 6 is not the only TRT channel to broadcast in a language other than<br />
Turkish. Opening out to different language s continued to fulfill the needs of the<br />
citizens in domestic broadcasts and also to spread the voice of Turkey to<br />
foreign countries. For this purpose, first TRT Avaz was launched in March,<br />
2 ı st, 2009 to address Central Asia, Caucasians and the Balkans, and offered<br />
content (some of them also being produced in these countries) in Azerbaijani,<br />
Kazaklı and Uzbek. This is followed by the launch of TRT Arabic (TRT el
TURKISH TELEVISION BROADCASTING 2011 3 5<br />
News<br />
4 1990 2008: TRT
36 İSTANBUL CHAMBER OF COMMERCE<br />
2009<br />
Accessibi e from all<br />
around the world<br />
TRT<br />
2009 ( under the<br />
Documentary<br />
TRT Arabic<br />
Music<br />
General<br />
genres)<br />
Arabic<br />
(TR Tel<br />
Turkiye)<br />
TRTS<br />
Anatolia<br />
2010<br />
2010<br />
2011<br />
Sports,<br />
documentary,<br />
cinema<br />
General<br />
Altemate contents<br />
offered by local<br />
channels<br />
TRT has recently made an important leap with the diversity of the channels<br />
it offers and its thematic approach that recognizes the different tastes and needs<br />
of the viewers. Besides, by signing a cooperation agreement with Euronews,<br />
which is one of the leading news channels in Europe and in all over the world,<br />
TR T has become one of the biggest partners of Euronews, thus Euronews<br />
started i ts broadcasts in Turkish which became the 9th language of the channel,<br />
in January 2010.
TURKISH TELEVISION BROADCASTING 2011 3 7
ven though if thematization is considered as a so the<br />
programs can reach the target audience, no one can deny the social<br />
cultural advantages the generalist television 25 . structure<br />
of the general interest channels, that we are going to analyse in details further<br />
down, represents as such a fairly important matter Turkey, as watching<br />
television constitutes a very important way of socialization and establishing<br />
interpersonal communication. As we pointed it out a previous research we<br />
on women in Turkey and television culture, the schedule of those generalist<br />
VJ.H)J,AUJl'-'.1.0 rpr.rpç~pntç~ a to 'timetab le' at<br />
during day-time 26 .<br />
On the other hand,<br />
local production amongst the television<br />
as<br />
,..,..,.,,.... h- 1 an has to ""...'"'"....ı-<br />
gıven possibility to compete<br />
productions were dominant in this market. the fırst years of the<br />
television, when the had not enough knowledge experıence<br />
matter, were no private companies able to produce formats<br />
and contents, the need local production was by showing movies or<br />
home-ınade productions.<br />
Nowadays, deal various formats. ıs<br />
to a specialized staff joining industry<br />
F-,.L'U''-/ ...... LL"'-'~ .........., ...... to exchange TV .L'V.UL
40 İSTANBUL CHAMBER OF COMMERCE<br />
generalİst televisions 27 shows that there ıs quite a variety of the programs.<br />
Although even if those channels are defıned as "generalist", we can see that<br />
some kinds of programs have become a driving force of the television, and that<br />
there is e trend to thematization of these channels, ev en if not said so.<br />
Our analysis on the program structure of six national broadcasting<br />
generalİst TV channels shows out the following fındings :<br />
5.1. Kanal D<br />
Other<br />
Garne Show<br />
Debate<br />
4%<br />
Mu sic/<br />
Enterta i n m e nt/<br />
Celebrity News<br />
10%<br />
TV Series/<br />
Dram as<br />
57%<br />
Cu ltu ral/<br />
Educational 6%<br />
27<br />
The analysis is realized during the week of April, 30 - May, 6, 2011 on six national<br />
broadcasting generalist TV channels. The channels were choosen in reference to criteria as the<br />
general rating data, the structure of ownership, the quality of being a public TV channel.<br />
Analyzed channels are: KANAL D, ATV, SHOW TV, FOX, TRT 1 and STV.
TURKISH TELEVISION BROADCASTING 2011 41<br />
Kanal D is the main TV channel of the Dogan Media Group. W e can notice<br />
that i ts programs are mainly based on tv series and dramas. The total of news,<br />
debates, cultural and educational programs represents about 115 of the whole<br />
program. A very big part of the series and dramas is constituted by local<br />
productions and their rebroadcastings.<br />
5.2. ATV<br />
Gcırne Show<br />
other<br />
ATV is a competitor to Kanal D, as far as the structure of the programs and<br />
the type of productions it presents 28 . One can notice that % of the programs are<br />
series or dramas. If the number of local series broadcasted on prime-time in<br />
ATV is not so different of its competitors (Kanal D, SHOW TV, ete.), the<br />
difference of their share in the program structure comes from several<br />
rebroadcasts of these series, and a more important place accorded by this<br />
channel to broadcast theatre fılms.<br />
28<br />
For a detailed study on this subject cf. Hülya Uğur Tanrıöver et al., Türkiye 'de Film<br />
Endüstrisinin Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları, 2011, p. 47.
42 İSTANBUL CHAMBER OF COMMERCE<br />
5.3. SHOW TV<br />
TV Series/<br />
Dram as<br />
30%<br />
News<br />
10%~<br />
Cu ltural/ ~<br />
Educational<br />
ı% Music/<br />
Enterta i n me nt/<br />
Ce lebrity News<br />
7%<br />
Debate<br />
3%<br />
During the week we worked on the Cukurova Group's SHOW TV channel,<br />
we noticed that the most important production was television game shows. One<br />
can see that dramas ( especially local series) occupy much le ss time (30%) than<br />
in ATV or Kanal D, where they are a driving force. News, debates and cultural<br />
and educational programs represent only 15% of the who le program.
TURKISH TELEVISION BROADCASTING 2011 43<br />
5.4. FOX TV<br />
Game Show<br />
11%<br />
Other<br />
2%<br />
lV<br />
Reality<br />
12%<br />
1%<br />
F ox TV has all o wed n early half of i ts programs ( 44%) to sene s and<br />
dramas, but we have to underiine that it includes daily series which are not so<br />
frequent in Turkey. Moreover, Fox TV has a special position canceming the<br />
new s and de bates, as 20o/o of the schedule include new s bulletins and if w e add<br />
to this the debates almost one third of the programs are of this category.
44 İSTANBUL CHAMBER OF COMMERCE<br />
5.5. TRT 1<br />
Game Show<br />
Documentary/ 6%<br />
Reportage 9% .....<br />
Otherl<br />
2%<br />
TV Reality<br />
Music/<br />
Entertainment/<br />
Celebrity News<br />
1%<br />
Cultural/<br />
TV series/<br />
Dram as<br />
57%<br />
W e can see that serı es and dramas rank first in TR T 1, w hi ch is the<br />
generalist channel of public television, as well as with i ts competitors ATV,<br />
Kanal D and FOX. In addition to that, news, debates, cultural and educational<br />
programs altogether represent 20% of the who le program. Another interesting<br />
point is that 'documentary/reportage' programs which are nearly absent in<br />
liberal commercial channels represent 9% of the program structure.
TURKISH TELEVISION BROADCASTING 2011 45<br />
5.6. SAMANYOLU TV<br />
Game Show_...../"'<br />
1%<br />
Documentary/<br />
eportage 5%<br />
-~-Other<br />
5%<br />
TV Series/<br />
Dram as<br />
61%<br />
STV is a commercial channel, but also bears politically speaking<br />
conservative-islamic characteristics. The big part this channel allows to series<br />
and dramas is worth of interest. But we have to outline that the series and<br />
dramas broadcasted by this channel are very different from the ones of Kanal<br />
D, Show TV or FOX. Next to a very small number of classical series, the<br />
emphasis is on dramas with independent episodes, didactical and mostly about<br />
moral education and/or religious information. Moreover, an important part of<br />
the 'series-dramas' category is in fact constituted of 'television movies', which<br />
are quite rare in Turkey. Ifwe don't take into account the 'reality shows' which<br />
represent 12% of the programs, the other categories are represented with the<br />
same (and low) percentage. One can also notice that on this channel, music,<br />
entertainment or show programs don't take place in the same way than it does<br />
on other public or commercial generalist channels.
46 İSTANBUL CHAMBER OF COMMERCE<br />
As one can see on the comparative graphs, dramas are clearly roling all the<br />
generalİst TV channels except one. Together with this, we observe a trend to<br />
specialization on different TV formats. SHOW TV, especially since a few<br />
years, has the leadership as far as television game shows are concemed. In this<br />
matter, the part of some imported programs like 'Fear Factor', 'Survivor',<br />
'Wipe out' which are intemationally popular formats has to be noticed. The<br />
most important difference of the public channel (TRT 1) from the others is,<br />
apart from the dominant position of dramas, the fact that the different program<br />
categories are almost equally represented. The fact that TR T 1 has the largest<br />
part of documentary/reportage and cultural-educational programs obviously<br />
shows that it works inaccordance with this channel's mission of obeying to the<br />
principles of public broadcasting. W e can als o notice that three of the<br />
commercial and liberal channels that were analyzed had nearly neither<br />
documentary-reportage nor any cultural-educational program.<br />
Time Allocated to Different Formats by TV Channels (minutes)<br />
7000<br />
6000<br />
5000<br />
4000<br />
3000<br />
2000<br />
1000<br />
o<br />
• Kanal D<br />
• Show TV<br />
• FoxTV
TURKISH TELEVISION BROADCASTING 2011 4 7<br />
Time Allocated to Different Formats by TV Channels (minutes)<br />
STV<br />
..<br />
FoxTV<br />
~<br />
~ L<br />
~ .<br />
ı<br />
Other<br />
Culturai/fducationai<br />
Musıic/Entertainmerı, ete.<br />
TRT1 ~ • Game Show<br />
Show TV<br />
Kanal D<br />
ATV<br />
-<br />
• N Rea lity<br />
l~ • Debate<br />
~ • Oocumentarv/Reporta~<br />
~<br />
~ - ~<br />
- - - -<br />
o 1000 2000 3000 4000 5000 6000 7000<br />
ı<br />
!<br />
• Ne~.ovs<br />
• TV Series/Dramas<br />
N owadays in Turkey, the lo cal series occupy a special place in the drama<br />
category which represents a driving force for the generalist channels.<br />
Consequently, more information about these productions is necessary to<br />
understand today's Turkish television broadcasting.
to<br />
29<br />
In this<br />
Turkish<br />
'de Film Endüstrisinin<br />
30
50 İSTANBUL CHAMBER OF COMMERCE<br />
sa w the place of television in their lives increasing very fast. In accordance with<br />
the interest shown by the audience and the results of fırst surveys, the<br />
production of local series has increased more and more around the mid-90's.<br />
From this moment on, the Turkish audi en ce of television left nearly completely<br />
the foreign series daiming for "universality" and turned to local series. To<br />
watch local series has become the entertainment and recreation of nearly every<br />
evening after diner time for the majority of the population.<br />
In all the researches we have been ab le to fınd from 1998 until now, the<br />
number of local series has regularly increased. Even if sametimes some other<br />
formats have done a success (such as TV game or reality shows, like the<br />
Turkish adaptation of Taxi Orange) or even if sametimes it show ed some<br />
moments of stagnation, those never lasted long.<br />
60<br />
so<br />
Average Number of TV Series Broadcast Weekly<br />
..<br />
<strong>Ql</strong><br />
40<br />
.c<br />
E 30<br />
:s<br />
z<br />
20<br />
10<br />
o<br />
1998 2000 2002 2004 2006 2008 2010<br />
There aren't any sources in Turkey on the annual dispersal of broadcast TV series. The<br />
average numbers shown on this graphic are the results of our personal academic researches<br />
that we have been conducting since 1996.
TURKISH TELEVISION BROADCASTING 2011 5
52 İSTANBUL CHAMBER OF COMMERCE<br />
Time (Minute)<br />
Number<br />
68-80 4<br />
81-90 10<br />
91-100 12<br />
101-113 10<br />
Total number of TV series 36<br />
Duration of Ep isodes ( minute)<br />
• 68-80<br />
• 81-90<br />
91-100<br />
• 101-113<br />
The graphic includes solely series broadcast on Kanal D, ATV, Fox, Star and SHOW.<br />
If w e consider the top four of those series, the proportion of the long ones<br />
shows a big increase, while the ones below 80 minutes do not even appear in it.<br />
On the other hand, the episodes are rebroadcasted several times in the same<br />
week or in day time or anather evening, which result is that the share of the<br />
series in to the channel' s program structure is very high. So, as w e previously<br />
said about the schedules, some channels although they are supposedly<br />
generalİst channels are close to be thematic channel as the now nearly only<br />
broadcast series/ dramas.
TURKISH TELEVISION BROADCASTING 2011<br />
31<br />
Awards", 87-90.
54 İSTANBUL CHAMBER OF COMMERCE<br />
Cbannels<br />
Number<br />
KANALD 10<br />
ATV 10<br />
FOX 9<br />
STAR 5<br />
TR Tl 5<br />
SHOW 4<br />
STV 4<br />
Total 47<br />
Dispersal of TV Series according to Channels<br />
TV series broadcast the week ofDecember 13th-19th on national TV channels<br />
The competition between Kanal D and ATV is not only a matter of number<br />
of series, but also with the rating scores. In the audience measurement results of<br />
December 2010, most of the fırst four leading series belonged to these two<br />
channels.
TURKISH TELEVISION BROADCASTING 20 ll 5 5<br />
one<br />
it is<br />
to say<br />
32<br />
33<br />
34
56 İSTANBUL CHAMBER OF COMMERCE<br />
"genre" characteristics are stable and some others have disappeared or have<br />
emerged according to changes and trends. About the genre characteristics,<br />
comedies, melodramas and detective series are the main categories, as well as it<br />
is thecasefor the movies.<br />
W e are giving bel o w the distribution of the 4 7 series broadcasted between<br />
December, 13th to 19th 2010, according to the research we conducted on the<br />
mo vi e industry in Turkey.<br />
Dispersal of TV Series according to Genres<br />
D<br />
COMEDY<br />
21%<br />
W e must underiine that s ome series, present more than one genre<br />
characteristics, combining, for example, elements of a comedy and those of<br />
thriller in the same production. This characteristic appears in many series<br />
broadcasted in 2010.<br />
However, in any case, it is very obvious as it appears in this table that<br />
drama is the main genre. Moreover, the most favourite series are the ones<br />
bearing the characteristics of the traditional Turkish movie and remembering<br />
the melodramas of Yesilcam in the 60's. Nearly one series out of two is a
TURKISH TELEVISION BROADCASTING 20 ı ı 5 7<br />
drama/melodrama. Comedy and increasing in the last years the<br />
detective/adventure genres are just following the dramas. The other genres<br />
only showed periodic coming out. For instance, some fantastic movies were<br />
made especially for children towards the end of the 2000s. They were<br />
appreciated for a certain time, but then the audience showed no interest any<br />
more. W e can also mention so me historical series made by TR T and<br />
broadcasted by the channel at some periods of time it judged important. Since<br />
2005, the commercial channels started producing some historical series as well.<br />
At the beginning, there w ere productions focused on recent history ( especially<br />
on the military coup period), then some productions about the last years of the<br />
Ottoman Empire and the Turkish W ar of Independence reached high rating<br />
scores, but this situation didn't last. Historical series came up again with the<br />
series on the era of Kanuni Sultan Süleyman and Hurrem Sultan called<br />
'Muhtesem Yuzyil' ("The Magnifıcent Century"). This series started to be<br />
broadcasted in 20 ı ı and w as followed with deep intere st. This series' success<br />
triggered other channels to 'buy' this series at high prices and to make other<br />
series taking place during the Ottoman Empire with the same kind of subject.<br />
Dispersion of TV Series• Genres according to Channels<br />
7<br />
6<br />
5<br />
4<br />
3<br />
2<br />
1<br />
o<br />
KANAL ATV FOX STAR TRT 1 SHOW STV<br />
D<br />
• DRAMA<br />
• COMEDY<br />
THRILLER/ACTION/WAR<br />
• TEEN
58 İSTANBUL CHAMBER OF COMMERCE<br />
The distribution of different genres shows the efforts to be different<br />
because of the competition of the channels. For instance, ATV, Kanal D, FOX<br />
and SHOW TV which are the most important in terms of number of series give<br />
much more importance to dramas. FOX and Kanal D broadcast some teen<br />
series bearing also melodramatic characteristics, which give those channels a<br />
'drama identity'. However, another important point is that TRT is almost giving<br />
the same importance to nearly all genres of series.<br />
When one considers the distribution of the themes in the series, it becomes<br />
obvious that love and other types of relationships stand in the farefront ; this<br />
situation overlaps the fact that drama/melodrama is the most frequent genre.<br />
The second theme is "stories of ordinary people" : in fact, that kind of themes<br />
com es out from the 'realistic' characters of Turkish series and gives the<br />
audience the possibility to identify with heroes. This theme mles in series<br />
showing families and neighbourhood, which are very important in our history<br />
of series.<br />
Thematic Dispersal of TV Series<br />
WAR/<br />
TERRORISM\<br />
11%<br />
DEEP STATE/<br />
MAFIA<br />
4%<br />
ORDINARY<br />
PEOPLE<br />
38%<br />
When studying the series broadcasted in 201 O' s season, one can see that<br />
Istanbul is the most important place ch o sen for location as 'the world of series'.<br />
57% of the broadcasted series take place in Istanbul. Other cities have been
TURKISH TELEVISION BROADCASTING 2011<br />
energy<br />
35<br />
36<br />
37<br />
The contradiction between<br />
, "urban-rural", "modem-traditionnal" was the center of,<br />
not melodramas but also of comedies. Situations related to these kinds of contradictions<br />
continue to constitute the main element<br />
'"''Tn_ı-
60 İSTANBUL CHAMBER OF COMMERCE<br />
In cancem to the storytelling form in general, the type of series with a<br />
clean cut ending at each episode does not exist. The importance in Turkey is<br />
given to serials, that is to say that one needs to see all the episodes to<br />
understand the story and the real structure of facts. Consequently, one will be<br />
curious to see the next episode, so that channels are sure of the fıdelity of the<br />
audience. But w e have to take separately the sub-category of sit-com : because<br />
of i ts general content and format characteristics, every sit-com episode has its<br />
closure. Even detective series use one main story requiring fıdelity, as every<br />
episode itself relatively marks the end of one shorter story/intrigue.<br />
An other comman characteristic of those series is the use of sh ort stories<br />
in relation with the main one, the existence of many stories together and the<br />
interweaving of many events. This is the reason why missing even only one<br />
episode makes nearly impossible to understand the main story (as well as the<br />
smail on es). As a matter of fact, the tradition of remembering so me of the<br />
important sequences of the last episode is now well established and these<br />
fragments reached now 30-35 minutes, nearly representing the length of a<br />
normal series. This is the reason why in the right comer of the screen it now<br />
writesunder the title of the series "summary". In consequence, when this part<br />
en ds and the original episode starts, it write s at the same place "new episode",<br />
so that the audience is informed.<br />
When we analyse the characters, connected with the requirements of<br />
the format and storytelling and ev en if in so me series one character looms large<br />
(for instance Ezel, Polat Alemdar, Behzat C. in the 2010 season), we don't<br />
quite see one major unique-dominant character ruling the main story. In other<br />
words, the Turkish series' structure is composed of multiple characters and the<br />
major effect on the narrative structure is that it gives the possibility of<br />
combining many events and especially to create minor short stories. Combining<br />
many characters and events has a strong connection with the audience. As<br />
Morlleski pointed out, series are signifıcantly loved because the audience can<br />
identify itself to the characters of the series. In such a case, the fact that the<br />
channels target a large audience justifıes that the series have such nature. It
TURKISH TELEVISION BROADCASTING 2011<br />
s co res
62 İSTANBUL CHAMBER OF COMMERCE<br />
language, due to the increasing of the audiences' "TV-literacy" 38 and critical<br />
approaches.<br />
In Turkish series, families are the first or one of the first reasons why<br />
the individuals are "healthy". Sameone o w es to his family to be a good person<br />
and a good citizen. In the "classical" family series, the family finds out a<br />
solution to the smallest problem, always with solidarity and love surrounding.<br />
It' s always the only reliable reference. Of course, the hidden or the connotative<br />
meaning of this fact is that 'the one who leaves the flock, that is to say the<br />
family, will be taken away by the wolf. In series which focus on adventure and<br />
action, professional life as well as in relationships a little bit of the "mafia<br />
type', the "good" hero finds peace of mind and happiness in his family. On the<br />
contrary, the "real" bad one s have no "family" or are very far from true<br />
traditional family values and relationships.<br />
In the last period of time, we can see a change related to the family :<br />
there are many characters that are divorced or divorcing. This can be explained<br />
as a proof that divorce as a social phenomenon is part of the atmesphere of the<br />
series, even if most of the divorced people are bad ones, "degenerate" or they<br />
end starting a new family. On the other hand, sexual intercourse outside<br />
marriage which were previously identified with bad people only ("Küçük<br />
Sırlar, "Aşk ve Ceza", "Yaprak Dökümü" ete ..) are now used more frequently,<br />
although they generally lead to bad consequences.<br />
also see that women for years were with<br />
the family, even if they had any professional and public relations were shown<br />
mo re for the ir lives inside the family, have started the se last years to open up to<br />
the outside world. It's interesting to see the increasing number of women<br />
38<br />
For further information about this "audience typology" cf. Hülya Uğur Tanrıöver, La<br />
reproduction de la division sexuelle du travail a travers !es pratiques culturelles : images de<br />
femmes dans !es feuilletons de teZevisian turque et leur lecture dans le pays et dans<br />
l'immigration, These de Doctorat non publiee,Universite de Montpellier III, Dep. de<br />
Sociologie, 2003, Directeur: Prof. Dr. Mohand Khellil.
TURKISH TELEVISION BROADCASTING 2011
64 İSTANBUL CHAMBER OF COMMERCE<br />
Unlike some of their equivalents in Europe, these US originated series are<br />
subtitled, which above all requires viewers to have a certain educational level.<br />
Actually, media planners and advertisers attach importance to such productions<br />
appealing to young, urban and modem populations inelin ed to W e stern culture<br />
due to their narratian style, sense of humor and textual implications. In fact,<br />
the se series are not watched "the most", but followed by a target group with a<br />
net profile.<br />
Some adaptations of foreign serıes have from time to time been quite<br />
popular. "Dadı" (Nunny) and "Tatlı Hayat" (The Jeffersons) are just to name<br />
two of these series started to be transmitted on national broadcasting generalİst<br />
channels in 2000s. Sametimes we can also see productions covering some<br />
elements from foreign series or very clearly "inspired" by them without a<br />
copyright agreement. However, such productions, which last for months and<br />
even years, somehow end up entirely "local" series unrelated to their source of<br />
inspiration although originally foreseen in parallel with the preferences and<br />
likes of viewers.<br />
Anather type of adaptation is "sitcom". Canada originated "Bir Kadın Bir<br />
Erkek" (Un gars et une fille) is the most successful example of such<br />
adaptation. Legally adapted, "Bir Kadın Bir Erkek" is broadcast on an<br />
encrypted digital platform.
are<br />
39<br />
i b id.,<br />
ibid.,
66 İSTANBUL CHAMBER OF COMMERCE<br />
producing original formats. Therefore, they preferred "reality shows" that<br />
broadcast judicial cases li ve and in which presenters follow up and comment on<br />
the cases as they happen. Besides, "investigator joumalism"- oriented programs<br />
using hidden camera shooting to disclose some problems were also produced.<br />
Jost qualifıes these programs as follows: "the programs which tum research or<br />
joumalism into show" 40 . Of these programs, the most rooted ones stili exist<br />
with certain stylistic changes.<br />
In the early 2000s, an imported program format broadcast under the name<br />
of "Biri Bizi Gözetliyor" 41 drew considerable attention. Actually, the name of<br />
this program i ts elf, w hi ch means "Somebody is spying on us", started to be<br />
used as a new idiom in daily language to refer to situations in which people<br />
"are observed" openly or in seeret Based on the combination of the idea of<br />
competition with the broadcast of people not knowing each other in advance<br />
but starting to live in the same house on a nearly full time basis, this format was<br />
continued in different versions. Transmitting "raw images" of daily life, this<br />
format inspired a Turkey-specific format in 2004. Moreover, the personal<br />
relations of the participants or their lives in the aftermath of the program w ere<br />
discussed as serious "phenomena" in the broadcast season as these people<br />
underwent certain magazinish or judicial situations. The program "Gelinim<br />
Olur Musun?" meaning "Will you be my daughter-in-law?" was based on the<br />
importance attached to marriage by Turkish TV viewers and the relation and<br />
even conflict between mothers-in-law and daughters-in-law which has become<br />
a tradition. The "Gelinim Olur Musun?" format targets to get mothers<br />
participating in the program to choose the best spouse for their sons among the<br />
single women sitting for marriage. This format was even exported to several<br />
countries. In Italy, this program was nominated for Emmy Awards and its<br />
producers entered a law suit against a program called "Momma's Boy" started<br />
40<br />
41<br />
For a definition of this term, cf. François Jost, Introduction a l'analyse de la television, Ellipses,<br />
Infocom, Paris, 1999, Chapter 5 and Chapter 9.<br />
The first version of this program, which was exported to several countries, broadcast in Turkey<br />
was in fact an adaptation of Austria originated "Taxi Orange".
TURKISH TELEVISION BROADCASTING 2011<br />
w as<br />
42<br />
43<br />
44<br />
"ABD 'Gelinim Olur Musun'u ~"..-""''"'"~"<br />
brcmdcaE>tıng season, the program was called "Kim Yüz İster?" me:anıng<br />
Turkish currency .<br />
version of this program, cf. Yves<br />
sciences
68 İSTANBUL CHAMBER OF COMMERCE<br />
In the 2000s, when coınpetition shows were on the peak, soıne<br />
competitions targeting to test endurance were also broadcast though soıne of<br />
theın were highly criticized. For exaınple, the coınpetition show called "Dokun<br />
Bana" (Touch me) was highly criticized in terms of the health of coınpetitors<br />
and even penalized by RTUK (The Supreme Board of Radio and Television)<br />
due to its possible effects on viewers. In this program broadcast on SHOW TV<br />
in 2001, the competitors were supposed to touch acar for 70 hours. The winner<br />
would be the one who uninterruptedly touched the c ar the most. 45<br />
The most popular exaınples of this type are foreign formats that have been<br />
broadcast for the last few years. With soıne of their adaptations, they have<br />
turned into real shows and started competing with local TV series, which are<br />
undoubtedly the favorite programs of prime-time TV channels; though not<br />
continuously, they have sametimes achieved a great success (when the<br />
İnıportant ınoments of competitions or their finals are broadcast ). Designed by a<br />
British TV producer in 1992 and broadcast on CBS in 2000 in the US,<br />
"Survivor" (initially called "The Last Survivor") was introduced to Turkish<br />
viewers by Kanal D in 2005. Transferred to SHOW TV one year later, the<br />
program divided the competing teams in two group s lik e "Turkey vs Greece",<br />
"Girls vs Boys", "Lions vs Canaries" (Galatasaray fans vs Fenerbahce fans)<br />
with the purpose of making viewers identify themselves with the teaıns<br />
coınpeting. US originated "Fear Factor" and "Wipe Out" with a similar format<br />
have aroused interest recently.<br />
Anather type of competition show that has becoıne popular Turkey so<br />
far and can be considered within the framework of talent or skill discovery<br />
programs is "cooking contests". Kitchen culture is an İnıportant coınponent of<br />
our society. Based on this fact, these programs bring together the participants<br />
who are to cook different meals and eat together. In fact, such programs can be<br />
thought to be a new version of cooking programs combining talk shows with<br />
recipe "comers", which are a classical part of "day time broadcast" largely<br />
45<br />
"Dokun Bana Show'a Ceza Getirdi", http://arsiv.ntvmsnbc.com/news/109969.asp
TURKISH TELEVISION BROADCASTING 2011<br />
most<br />
46
7 Ü İSTANBUL CHAMBER OF COMMERCE<br />
about negative effects. Serious sanctions have been imposed on the programs<br />
that have not taken measures to protect the women participating in the program,<br />
which thus caused tragic results.<br />
Another format which has aroused interest the most in the daytime<br />
broadcast in recent years is "marriage programs". In Turkey, where marriage is<br />
one of the most fundamental social values, any assistance or support provided<br />
to single people to enable them to find suitable spouses is considered to be a<br />
very important proof of solidarity. Besides, in these programs the people who<br />
want to get married teli their life stories. Thus, their content resembles that of<br />
dramas. In this sense, it is possible to say that these programs are the televised<br />
versions of whatis being experienced among neighbors and friends in real life.<br />
Commenting on these programs, the President of R TSC said "They fulfill a<br />
social function". Y et, w e cannot say that the se programs have no ad verse<br />
effects. S ome of the participants have committed erime s by taking advantage of<br />
the program ( e.g., some committed fraud or theft with the pretext of marriage;<br />
some attempted to carry out "white marriage" to obtain citizenship ). Besi des,<br />
women's groups fighting against sexismin the media eriticize these programs<br />
because most of the female participants want financial assurance (like<br />
properties) as a requirement from possible husbands and the TV programıners<br />
just take this for granted.<br />
7.4. News Debate Shows<br />
As we mentioned above, in addition to general TV channels which are<br />
quite popular among Turkish viewers, there are also thematic news channels<br />
whose number has been on the rise recently. Such channels have a certain<br />
viewer profile. The viewers of news and "reality-based" contents can also<br />
watch debate shows in which important agenda topics are brought to the tab le.<br />
TV programs with the quality of "forum" or open session in which political<br />
agenda is discussed by different parties became popular also on general TV<br />
channels in the 90s, when mixed broadcasting started. Though broadcast after
47<br />
TURKISH TELEVISION BROADCASTING 2011 71
7 4 İSTANBUL CHAMBER OF COMMERCE<br />
When we take a look at the distribution of advertiseınents ın different<br />
ınedia, w e see that television ranks the first by landslide<br />
9 Distribution of advertising expenses among media<br />
M edi um<br />
Share.(o/o)<br />
Television 55.85<br />
Press 26.08<br />
Radio 2.87<br />
Openair 6.98<br />
Cine ma<br />
L26<br />
Internet 6.97<br />
Though printed media keep its share in the cake to a certain extent, the<br />
biggest change in the distribution of advertiseınents can be seen on the Internet.<br />
The more the Internet is accessed and used, the bigger its share in the<br />
advertising cake is.<br />
On television, the biggest share belongs to national ground broadcasting<br />
channels; however, regional or local channels get nearly no share,while satellite<br />
and wired channels can benefit from only 10% of TV ads. 49<br />
49<br />
Ceren Sözeri, Zeynep Güney, ibid., p.54.
TURKISH TELEVISION BROADCASTING 2011 7 5<br />
D is persal of TV Advertising Revenue<br />
according to Licence Type<br />
• National TV • Regional TV<br />
Cable TV Satellite TV<br />
Regional and<br />
Local TV 1%<br />
6% 4%<br />
• Cable TV • Satellite TV<br />
The distribution of advertising ineome among channels is in paraUel with<br />
the ratings 50 . In other words, TV companies' primary target is now to have the<br />
fırst ranks in the rating list through assertive productions, which has from time<br />
to time led the competition environment called "wars of rating" to appear. Y et,<br />
the distribution of advertising ineome does not match with the duration of ads.<br />
As it can be seen in the table below, the channels that are at the last ranks of<br />
rating lists or do not participate to the audience measurement system allocate<br />
more time to commercials. It is possible to infer that even the companies which<br />
are commercially less assertive prefer TV as it is the most popular medium for<br />
advertisements.<br />
50<br />
i b id.
7 6 İSTANBUL CHAMBER OF COMMERCE<br />
1 O - TV series with the longest ad<br />
TVCHANNELS<br />
ATV<br />
NTV<br />
Kanal 7<br />
Fox<br />
Show TV<br />
D<br />
S tar<br />
CNNTur k<br />
CNBC-e<br />
Habertürk<br />
TGRTHaber<br />
NTV<br />
Flash<br />
Dizimax<br />
Cine5<br />
TV8<br />
Euro D<br />
6:920227<br />
6.795.448<br />
6.193.603<br />
5.976.729<br />
5.965.081<br />
5.878.871<br />
5.154.368<br />
5.102.165<br />
4.802.740<br />
4.763.492<br />
4.500.114<br />
4.427.313<br />
4.414.983<br />
4.142.544<br />
Source: The Nielsen Company (2010) cited by C.Sözeri, Z.Güney, ibid., s.56<br />
In<br />
target<br />
'"''-'"'""JLLJLLı'"'"''"'ı""'"'"-' which are so '-''-''-'"'ı'"""'"<br />
terminology) is a subject ""'""""~'"r'rı<br />
51<br />
Excluding telemarketing and social advertisements.
TURKISH TELEVISTüN BROADCASTING 2011 77<br />
mathematical media planning. It is actually a sociological, cultural and<br />
communicative topic. The advertising pollution graphic below highlights<br />
another dimension of this subject.<br />
TV Advertising Polintion (Adults)<br />
1200<br />
1000<br />
soo<br />
600<br />
ı<br />
1<br />
- 2005<br />
ı<br />
2006<br />
2007<br />
2008<br />
400 - 2009<br />
200<br />
o<br />
Source: NIELSEN TAM TURKEY, Mindshare<br />
2010<br />
This advertising pollution graph shows the number of advertisements<br />
which adults are exposed to ina week in Turkey. The pollution decreases in the<br />
first months of the year and in summer. However, since the month of Ramadan<br />
collides with summer in 20ı ı, an increase in the number of ads is expected.<br />
Because advertisers are busy with preparing their annual strategies in January<br />
February, there are generally less ads during this period. Yet, it is seen that this<br />
trend changed in 20 ı O. In brief, it can be said that advertising pollution is high<br />
in Turkey and it will further increase in the years ahead. 52<br />
"Reception studies", w hi ch w ere started in communication scıences ın<br />
ı 920 and gained impetus after the ı 970s, po int out that "exposure" to a one<br />
52<br />
Hülya Uğur Tanrıöver vd., ibid., 2011, p. 63.
78 İSTANBUL CHAMBER OF COMMERCE<br />
single text does not bring about one single form of "reception". On the<br />
contrary, the same text can be perceived in various ways based on peoples'<br />
individual and co lleeti ve life stories and experiences 53 . When it comes to TV<br />
ads, it should be noted that the electronic rating system measures not the act of<br />
"watching" but just the TV channel w hi ch is on.<br />
As a matter of fact, a field study we have carried out for another research<br />
reveals that the viewers of TV series, namely the most favorite TV programs of<br />
advertisers, watch the ads very little. The advertisers, however, assume that ads<br />
constitute the way through which viewers "reach" them 54 .<br />
Vi.ewers' Tendancy to Watch Advertisements on<br />
Advertising Breaks<br />
• Always watches<br />
• Usually watches<br />
• Often watches<br />
• Never watches<br />
53<br />
54<br />
There are many sources on "communication theories". For example see. Annand Mattelart ve<br />
Michele Mattelart, İletişim Kurarnları Tarihi, İstanbul, Cem Yayınlan, 1998. Considered as a<br />
"founding text" in reception theories Stuart Hall, "Encoding, decoding", inCulture, Media,<br />
Language, Hutchinson, Stuart Hall et al. (eds.), Londres, 1985. For a comprehensive scientific<br />
study on viewers and reception, see. Brigitte Le Grignou, Du côte du public. Usages et reception<br />
de la television, Ed.Economica, coll.Etudes Politiques, Paris, 2003.<br />
Hülya Uğur Tanrıöver et al., ibid., 2011, p. 177-179.
TURKISH TELEVISION BROADCASTING 2011 79<br />
Asked on what they do during the commercials, one out of 4 viewers says<br />
that when ads appear, they leave the room where they watch TV and<br />
approximately 1 out of 3 people passes to anather series broadcast on anather<br />
channel.<br />
Activities During Advertising Breaks<br />
5%<br />
1%<br />
• Changes the channel, watches<br />
anather TV series<br />
Changes the channel, watches<br />
anather program<br />
Zaps between the channels<br />
Stays in the room, busies<br />
lıimsel:f/herself with other<br />
activities<br />
Chats w ith the other viewers in<br />
the room {family, spouse,<br />
friends ... )<br />
Leaves the roomtorun same<br />
errands (make tea, hang<br />
laundry ... )<br />
nthPr<br />
As it can be seen in our study detailing this subject, 41% of women, who<br />
are one of the most fundamental target groups of advertisers, leave the room<br />
when ads are being broadcast.<br />
Aware of this situation, advertisers are gradually modifying the ir strategies.<br />
Turkish advertising sector is very successful in terms of creativity, which can<br />
also be understood from many awards granted to Turkish advertisers in several<br />
professional milieus at international level in addition to the importance attached<br />
by the world's biggest advertising agencies to their Turkish associates. To<br />
ensure that the ir advertisements on TV, the most popular medium, reach the<br />
target group, advertisers apply different strategies: embedding products in the
8Q<br />
İSTANBUL CHAMBER OF COMMERCE<br />
programs, using virtual advertisements, shooting advertisement series, featuring<br />
stars in their advertisements, ete. In fact, the very purpose of these efforts is to<br />
make their investments rentable.<br />
On the other hand, marketing communication and integrated marketing<br />
approaches are becoming more and more important. Based on this, many<br />
advertisers have been developing their spansorship business in addition to<br />
classical advertising. Spansorship provides the necessary basis to reach the<br />
target group especially on TV: Companies manufacturing the dothes of a<br />
presenter in a TV program or the main character in a TV series and the<br />
companies offering the fumiture and accessories in the place where the<br />
program is sh ot are im portant from the viewpoint of viewers. The main spansor<br />
of a popular program is sametimes presented with the "( ... ) presents" motto.<br />
This alsomakes viewers perceive the company/brand in question as an integral<br />
part of the program and has a positive effect on the brand awareness and image.<br />
As a matter of fact, our study on TV series viewers shows that they show<br />
interest in sponsorship, which is a relatively newer domain compared to<br />
classical advertisements.<br />
The Attention Paid to Sponsors of TV Series<br />
17%<br />
Pays atterıtion<br />
Never pays attention<br />
Never notices
55<br />
TURKISH TELEVISION BROADCASTING 20 ı ı 81
COUNTRY<br />
Hour: Minute<br />
05:39<br />
05:18<br />
Gr eec e<br />
05:03<br />
04:47<br />
2010<br />
Global Nielsen '-'V'""'"'''u""'ı
84 İSTANBUL CHAMBER OF COMMERCE<br />
higher in some specific social and professional categories such as housewives,<br />
retired or people with problems of involving in outdoor<br />
activities.<br />
Audience measurement studies point out that the most watched programs<br />
in Turkey in annual average are, despite periodic and short term changes, local<br />
TV series,. According to field surveys conducted through face-to-face<br />
questionnaire method, the results are slightly different: N ews or prime time<br />
news are the most watched programs, and TV series are in the second rank. For<br />
example, according to the survey conducted by RTSC (Radio and Television<br />
Supreme Council) in 2009, news are in the first rank with a ra te of 93.7 % in<br />
the list of the most watched programs, "local TV series" are in the second rank<br />
with a rate of 86.2 %. However, this could be resulted from the difference<br />
between declaration and behaviour as often observed in studies on conviction<br />
and social behaviour. In other words, people prefer declaring "socially<br />
acceptable behaviour" rather than saying the truth. Moreover, according to the<br />
RTSC's survey, "religious programs" occupy the third rank with a rate of 61.8<br />
& in the list of most watched programs, this also signifies a deviation resulted<br />
from the methodology, because in spite of such a popularity as declared by the<br />
audience, there is no such a high demand for such programs in the television<br />
market. On the contrary, as w e have seen above in the seetion analysing the<br />
broadcasting stream of some selected channels, such programs do not occupy a<br />
large part to constitute a separate category 56 even in the channels giving a<br />
special emphasis to religious-spiritual matters. Periodic tendencies should be<br />
taken into account regarding this topic. month of is a very special<br />
period in Turkey because of i ts sanctity for Muslims. Even channels which do<br />
not broadcast religious-spiritual programs in other months of the year contain<br />
many programs discussing importance of Ramadan dev o tion during this<br />
special period.<br />
56<br />
For this reason, in our study of analysis, programs with religious content were analysed<br />
according to their structural features under the titles of education-culture or discussion.
TURKISH TELEVISION BROADCASTING 20 ll 8 5<br />
Studies conducted on the audiences of TV series indicate the wellestablished<br />
character of this habit. Almost half of the audiences ( 46 %) declare<br />
that they watch 2-3 TV series each week. A group of audiences consisting 36%<br />
of the total declare that they watch more than 4 TV series each week. This fact<br />
shows that the character of "the TV series watching" can be deseribed in terms<br />
of loyalty and multiple-watching rather than being an occasional practice.<br />
The Number of TV Series Watched Weekly<br />
22%<br />
1 TV Series<br />
2-3 TV Series<br />
4-5 TV Series<br />
Mo re<br />
Many studies displayed that the habit of watching television in general and<br />
watching TV series in particular is a "social" activity in Turkey. However,<br />
since there are no recent studies providing suffıcient data about the general<br />
television watching practices, the data obtained from the people within the<br />
category of "TV series audiences" will be analysed regarding characteristics<br />
and analysis of the audiences 57 . This approach is methodologically convenient<br />
since almost every television audience in Turkey is also a "TV series<br />
audience".<br />
In Turkey, three out of fo ur audi en ce s declared that they watch their<br />
favourite TV series together with their families. This rate is much higher for<br />
women than for men.<br />
57<br />
Hülya Uğur Tanrıöver et al., ibid., 2011, p. 160-177.
86 İSTANBUL CHAMBER OF COMMERCE<br />
Table 12 - Do you watch your favourite TV series generally alone or with<br />
your family?<br />
BASE<br />
1083<br />
I watch aloiıe<br />
I watch with my family<br />
It depends on TV series<br />
The habit of watching TV series not only together with family members<br />
but also with friends is a kind of continuation of "tele-visiting" practice of the<br />
past days where TV sets were in limited number in Turkey. Many people<br />
denote that when they visit other people or are visited by other people, they<br />
watch the series on TV altogether and chat about them. A person interviewed in<br />
our qualitative field study deseribed this situation as: "In the evenings we visit<br />
other people or they come to visit us. There is X (name of TV series) on<br />
television. The subject on the series is spontaneously broached and we talk<br />
about it." (A; Female; 25-34; manager, single; Samsun).<br />
Certain ritualistic behaviours have been developed regarding watching TV<br />
series. Studies w e have conducted s ince 1996 show ed that the se rituals have not<br />
changed but more deeply established. People who were interviewed during our<br />
questionnaire surveys were asked whether if they perform one of those<br />
established behaviours, the tab le below displays the percentages of the people<br />
who adopted those behaviours more or less.
TURKISH TELEVISION BROADCASTING 2011 8 7<br />
Tab le<br />
statements<br />
STATEMENT<br />
Ev en if there are other TV sets in the w e<br />
like to watch the same TV series on<br />
a single TV set<br />
Ifwe watch TV series together with couple ofpeople,<br />
we deliberate on that series.<br />
we drink tea or<br />
ete.<br />
W e compare the<br />
or stories in it with the<br />
SEX<br />
FEMALE% MALE %<br />
84,3<br />
if there is a series<br />
When<br />
own and<br />
62.0<br />
office or in neighbours' house is o ur<br />
favourite<br />
of conversation.
88 İSTANBUL CHAMBER OF COMMERCE<br />
within their own communities and for maintaining and even establishing<br />
emotional bo n ds with the ir homeland. 58<br />
The general approach of audiences of TV series towards the regulation of<br />
broadcasting in Turkey indicates that there is a fairly liberal mass of audience.<br />
They do not approve the penalties imposed by R TSC for the infringement of<br />
broadcasting principles. They prefer regulation of broadcasting times instead of<br />
penalties. Almost 2 out of 3 audiences think that "some TV series should be<br />
broadcasted in Iate hours instead of being subjected to penalties". Furthermore<br />
audiences think that controlling over TV programs should be in the hands of<br />
audiences, so the regulation of broadcasting should be left to the free-market<br />
principles. Almost 3 out of 4 audiences state that "I think criticisms against TV<br />
series are absurd, if you do not like them, then do not watch them".<br />
Television watching practices have been gradually regarded as an<br />
important sociological phenomenon, and theoretical studies in this field have<br />
very much increased recently, these scientific studies do not only question<br />
"w hat and when audiences watch" but also "why", "ho w" they watch and "for<br />
what" reasons. Studies conducted in Turkey regarding television audiences in<br />
terms of such perspective present very significant findings. U nderstanding how<br />
audiences utilise television programs for their own needs is quite important to<br />
comprehend the prominence of this media and i ts content 59 .<br />
The findings that we obtained from our field studies demonstrate that<br />
although TV series are completely fictional, audiences get "documentary"<br />
benefits from these programs: TV series shot in particular regions or places<br />
introduce these places to the people just like documentary movies; such as<br />
"Mardin houses", "streets of Beyoğlu" or "mountain pastures of Blacksea<br />
58<br />
59<br />
For detailed information cf. Hülya Uğur Tanrıöver, "La Construction des identites et socialites a<br />
travers les pratiques culturelles : les irnmigres turcs et les feuilletons televises", in Diversite<br />
CuZturelle en Turquie et en Europe", A. Boeckel, I. Karakas (dir.), L'harrnattan, Paris, 2004.<br />
There are many scientific studies conducted in this field. For example see David Morley,<br />
Television, Audiences and Cu/tura! Studies, Routledge, London and New York, 2003 (1 1 92).
TURKISH TELEVISION BROADCASTING 2011
60<br />
Kitle<br />
61
92 İSTANBUL CHAMBER OF COMMERCE<br />
Dispersal of TV Advertising Revenue<br />
according to licence Type (%)<br />
100<br />
90<br />
80<br />
70<br />
60<br />
50<br />
40<br />
30<br />
20<br />
10<br />
o<br />
2008<br />
2009 2010<br />
• Nationa l TV<br />
• Regional TV<br />
Loca l TV<br />
• Cable TV<br />
Sa te ll it e TV<br />
Source: Mindshare, 201 O<br />
Sözeri and Güney state that media groups owning more than one television<br />
channel dominate the most of the market , therefore the market is very much<br />
concentrated in the hands of these media groups. Sözer and Güney utilise the<br />
table belove to show the concentration rate in the market, and in this table they<br />
include HHI (Herfindahl Hirschman Index) 62 to display the share of each<br />
company in this concentration within the market, and the market share (CR%) 63<br />
and the share in concentration of four media groups which dominate the 80 %<br />
of the market. Sözer and Güney pointed out that HHI values between 1500 and<br />
2500 signify a medium level concentration according to the standards<br />
determined by the Secretary of Justice of The United States of America, and<br />
62<br />
63<br />
Herfindahl Hirschman Index: Developed by Hirschman and formulated by Herfindahl, this<br />
index displays the share of each company in concentration and considers the total distribution.<br />
According to this index, if the total sum of the squares of the market shares of the first two, fo ur<br />
or eight companies in the market is below 1500, as a general tendeney it can be said that the<br />
industry is not concentrated. If the values are between 1500 and 2500, then the industry is<br />
medium concentrated, and if it is above 2500, then the industry is highly concentrated. Ceren<br />
Sözeri, Zeynep Güney, ibid, p.54.<br />
CR% (Concentration Ratio): It shows the market shares. Ceren Sözeri, Zeynep Güney, ibid,<br />
p.55.
TURKISH TELEVISION BROADCASTING 2011<br />
group<br />
19 361<br />
15<br />
8 64<br />
64<br />
65
94 İSTANBUL CHAMBER OF COMMERCE<br />
Market Shares of Media Groups in TV Broadcasting<br />
Source: Mindshare, 201 O The total percentage of market share on the graphic is 99% as the<br />
real total market share of the 4 groups of whose market shares are indicated as zero adds up<br />
to 1%.<br />
The general profıle of the people working in the television broadcasting<br />
sector is a good indicator of the newly developing character of this sector.<br />
Sözeri and Güney summarizes the fundamental data defıning this profıle as<br />
such:<br />
"According to data provided by Social Security Institution, the number of<br />
employees with social security working in sectors of "television production and<br />
broadcasting" and "production activities of cinema movies, video and television
TURKISH TELEVISION BROADCASTING 2011 95<br />
programs" 66 is ı 348 ı. 8 ı % of all employees are working in İstanbul based<br />
institutions and 8 % of them is working in Ankara.<br />
Television broadcasting seetar is a relatively new seetar comparing to<br />
established sectors such as the press. Employees working in the television<br />
broadcasting seetar are mostly young or middle-aged people, and the number of<br />
experienced employees is low. The percentage of the number of men (67 %)<br />
working in the television broadcasting seetar is much higher than that of<br />
women (33 %).<br />
Dispersaf of Employees in TV Broadcasting Sector<br />
according to Ages<br />
Source: Social Security Office data, November 2010<br />
The number of the employees with social security and with a tenure of less<br />
than five years is quite high." 67<br />
66<br />
67<br />
The employees in this sector was not included in television broadcasting sector, because<br />
employees especially working in the public sector are registered in sector of "production<br />
activities of cinema movies, video and television programs".<br />
Ceren Sözeri, Zeynep Güney, ibid, p.52.
96 İSTANBUL CHAMBER OF COMMERCE<br />
Service Term of Covered Employees in TV Broadcasting<br />
Over 10<br />
6%<br />
Source: Social Security Office data, Novernber 2010<br />
Although these data are quite explanatory, the total labour force in the<br />
television sector is much higher than the numbers stated by the Social Security<br />
Institution. First of all, the media sector has a large number of free-lance<br />
employees. As a result of technological developments some groups prefer<br />
flexible working hours, however it is not easy to specify a defınite number<br />
about such groups. As we have discussed in previous parts, the production of<br />
TV series in Turkey has become a sector on its own. People working in<br />
different levels of this sector can be considered as "television employees".<br />
Some employees might be registered in social security institutions by some<br />
channels working with their own or fellow production companies. However, in<br />
TV series sector w hi ch should be considered within the "mo vi e industry", the<br />
unregistered employment is very much widespread. As we mentioned in our<br />
previous studies, one of the faremost demands of the employees in this sector is<br />
registration of labour force through regulations in accordance with the<br />
conditions of the sector 68 .<br />
68<br />
Hülya Uğur Tamıöver, ibid., 2011, p. 210.
TURKISH TELEVISION BROADCASTING 2011<br />
69<br />
70<br />
71
98 İSTANBUL CHAMBER OF COMMERCE<br />
Besides the Faculties of Communication, 7 Fine Arts Faculties provide<br />
"Cinema-TV" education. There are also several institutions providing<br />
certificate programs on television broadcasting and television joumalism such<br />
as Pera Güzel Sanatlar, TURVAK, Akademi İstanbul.<br />
Turkish television series in particular and Turkish television programs in<br />
general fınd an important place not only in domestic market but also in<br />
international markets. Even in the period of public television broadcasting on a<br />
sin gl e channel in 1981 TRT started exporting programs to different countries.<br />
Obviously at that time because of the nature of the public broadcasting, the<br />
main aim was not to gain profıt but to introduce Turkish culture and provide<br />
Turkish citizens living abroad with programs in their own language and culture.<br />
In 1981, 52 productions including documentary movies, movies and series were<br />
sold to 9 countries mostly in Europe. In 1986, TRT was represented in its own<br />
stand of representation in Cannes Film Festiva1. 72 However, Turkish television<br />
prorgams became really widespread in the 2000s. First, the TV series of Kanal<br />
D titled as "Gümüş" (Noor) was sold fırst to Egypt and then to other Middle<br />
Eastem and Gulf countries as a result of international connections built up by<br />
the broadcasting company. As a result of this expansion started in 2006,<br />
"Gümüş" had a great success in these countries just like "Dallas" or "The<br />
Young and The Restless" on ce had. Its name was change d as "N oor" and<br />
became a sensational phenomenon. As stated by the producer of this series,<br />
many factors had their share in this success. First of all, one of these factors is<br />
the positive image that Turkey has gained recently in the Middle Eastern and<br />
Ara b-Muslim societies. Second, although having a Muslim population, Turkey<br />
has much more liberallife styles, so Turkey became a model for these countries<br />
and such kind of life styles was transmitted through "Gümüş" and other TV<br />
productions. Third, the main character of the series was a strong and<br />
independent woman who can overcome diffıculties with her own determination<br />
without the h elp of o man 73 .<br />
72<br />
73<br />
For more information in this subject cf. Özden Cankaya, ibid, 2002, p. 241.<br />
In-depth interview with the producer, 22 July 2011.
TURKISH TELEVISION BROADCASTING 2011<br />
74<br />
75<br />
76
100 İSTANBUL CHAMBER OF COMMERCE<br />
recognition, so the demand for these products increased in international<br />
markets: Clothing, household textiles, accessories, furniture, automobiles,<br />
technological products, food products are some of these products. Places,<br />
towns, regions, districts where TV series are shot became the favourite spots of<br />
domestic and international tourism. For example, tourists coming from the Gulf<br />
or Middle Eastern countries vis it Abut Yalı sı the main setting of "Gumus<br />
Noor" series before visiting historical venues, so Abut Yalisi became a sort of<br />
museum and a lucrative commercial venture. In terms of domestic tourism,<br />
Cappadocia region as the setting of "Asmalı Konak" series which was on TV<br />
during 2002 became a favourite point for domestic tourists. The region was<br />
discovered by tourists as a result of this TV series although the region has<br />
profound historical and natural importance. As a similar case , after the<br />
broadcasting of "Muhteşem Yüzyıl", a TV series based on the lives of<br />
Süleiman the Magnificent and his wife Hürrem Sultan, the number of domestic<br />
visitors of the Topkapı Palace increased rapidly. Furthermore, after "Muhteşem<br />
Yüzyıl", there was an increasing interest towards books and cultural and<br />
discussion television programs about Ottoman history. This reveals that TV<br />
productions and movies do not have only commercial values but also positive<br />
features regarding culture.<br />
In accordance with all these developments, Ministry of State responsible<br />
for Foreign Trade declared that the sector of cinema and mo vi e w as included as<br />
24th sector within the sectors eligible for state support for exportation as of<br />
2010. In this context, regulations were made to provide supports for the movie<br />
and cinemasector as other sectors enjoy.<br />
As privileged export products, Television productions and especially TV<br />
series became subject to some critical comments particularly coming from the<br />
countries which these TV production are exported to. These critical comments<br />
were especially about the format and technical features of these productions.<br />
Within last few years, the durations of the episodes became quite long to<br />
exploit the commercial capacities at maximum level, however broadcasting of<br />
Turkish TV series abroad became impossible due to such long episodes. For
TURKISH TELEVISION BROADCASTING 2011
102 İSTANBUL CHAMBER OF COMMERCE<br />
field especially in continental Europe 80 , it became a very densely studied<br />
academic field in the academic world in Turkey. 81<br />
Today, Turkish television broadcasting with its pluralistic character, its<br />
variety and richness is in a very positive position. To ameliorate this position,<br />
all the partners in sector should develop long term strategies instead of daily<br />
plans which will be detrimental for the sector in the long run. For example,<br />
taking the commercials out of daminance of increasingly stereotype TV series,<br />
directing productions to matching audiences and distinguishing regulations<br />
from punishments are some of the step s that should be taken in this direction.<br />
Turkish TV producers and broadcasters participate to different<br />
international organizations, pitching forums, ete. where they meet<br />
professionals of their sector. They have to take profit from the actual positive<br />
conjoncture and work to elaborate new conditions to develop Turkish TV<br />
broadcasting even in national then international markets, by creating new<br />
dramas, new formats and also co-production opportunities. It will be not only a<br />
benefit for the TV broadcasting sector but for the whole image and situation of<br />
Turkey.<br />
80<br />
81<br />
These debates stern from the approach daiming that every media audience is already a "media<br />
literate", and they can develop different literacy styles suitable for their own needs. A centrally<br />
organİsed education of media literacy is criticised of being "elitist" and of being a tool in the<br />
hands of official ideologies.<br />
As an example cf. Nurçay Türkoğlu, Melda Cinmen Şimşek (ed)., Medya Okuryazarlı ğı,<br />
Kalem us, İstanbul, 2007.
o<br />
et<br />
Mesurer<br />
Kurumunun<br />
sciences
ÇELENK Sevilay (2010), "Aşk-ı Memnu'dan Aşk-ı Memnu'ya yerli dizi<br />
serüvenimiz", Birikim, p. 18-27.<br />
HALL Stuart (1985), "Encoding, decoding", in Stuart Hall et al. (eds.), Culture,<br />
Media, Language, Hutchinson, Londres.<br />
JOST François (1999), Introduction a l'analyse de la television, Ellipses,<br />
Infocom, Paris.<br />
LE GRIGNOU Brigitte (2003), Du côte du public. Usages et reception de la<br />
television, Ed.Economica, Coll.Etudes Politiques, Paris.<br />
MAJORET Eric, MACE Eric (2005), Penser !es mediacultures. Nouvelles<br />
pratiques et nouvelles approches de la representation du monde, A. Colin et<br />
INA, Paris.<br />
MATTELART Arınand ve Michele (1998), İletişim Kuramiarz Tarihi, Cem<br />
Y ayınlan, İstanbul.<br />
MODLESKI Tania (1982), Hznçla Sevmek, Pencere Yayınları, İstanbul.<br />
MORLEY David (2003), Television, Audiences and Cu/tura! Studies,<br />
Routledge, London and New York (1992).<br />
Meral (1997), "Arabesk Culture: A Case of Modemization and<br />
Popular Identity", Rethinking Modernity and National Identity in Turkey,<br />
BOZDOGAN Sibel and KASABA Reşat (eds.), Chapter 12, University of<br />
Michigan Press. http://library.northsouth.edu/Upload/Rethinking%20Modernity.pdf<br />
ÖZKAN Evrim Töre (2010), İstanbul<br />
Y ayınlan, İstanbul.<br />
Film Endüstrisi, Bilgi Üniversitesi
UGUR TANRıÖVER Hülya, et al. (20 ı ı), Türkiye 'de Film Endüstrisinin<br />
Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları.<br />
UZUN Ruhdan, "İstihdam sorunu bağlamında Türkiye' de iletişim eğitimi ve<br />
öğrenci yerleştirme", İletişim Kurarn ve Araştırma Dergisi, no 25, Yaz-Güz<br />
2007, p. ıı7-ı34.<br />
WOLTON Dominique (1990), L 'Eloge du grand public. Une theorie critique<br />
de la television, Flammarion, Champs, Paris.<br />
Calinos, http:/ /www .calinos.com/tur<br />
OTHER<br />
Republic of Turkey, Ministry of Development, http://www.dpt.gov.tr<br />
IPTV Association, http://iptv.org.tr/iptv<br />
Platform of Communication Faculties, http:/ /ifop.kocaeli.edu.tr<br />
İsmail Cem TV Awards Almanac (2009).<br />
İstanbul Chamber of Certified Public Accountants 2008-20 ı O "Economy of TV<br />
Series"<br />
Report.http:/ /archive.ismmmo.org.tr/docs/yayinlar/kitaplar/20 ı O/ı O_ ı 0%20dizi<br />
%20arastirmasi. pdf<br />
"Nielsen TV Almanac 20 ı O", S tarcom Media Ve st Group Connected,<br />
http:/ /smgconnected.com/tv-yilligi-20 ı 0-hanelerde-sahiplik-ve-yayin-almasekilleri<br />
NTVMSNBC, http://www.ntvmsnbc.com<br />
Radio and Television Supreme Council (RTSC), http://www.rtuk.org.tr
lC OC PUBUCATIONS (201 O)<br />
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İstanbul 'un Renkli Hazineleri: Bizans Mozaiklerinden Osmanlı<br />
Çinilerine<br />
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Bir Zamanlar İstanbul: Şehir Mektupları (2.bs.)<br />
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Ticareti<br />
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201 ı
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Nobel'in izinde İktisat Kuramının Gelişimi<br />
Mikroekonomi ve Makroekonomi Düzeyinde Küresel Rekabet<br />
Gücünü Etkileyen Faktörler ve Stratejiler<br />
Yolu İstanbul' dan Geçen Kervan'ın Sarayları<br />
Çarşı-Pazar İstanbul<br />
El'muallim-i El'eseriyete El'islamiyete fı Medinete İstanbul<br />
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Türk Basım Sanayisi Temel Göstergeler ve Eğilimler 2009<br />
Sigorta Prim Teşvikleri ve İşçi Ödenekleri<br />
Dünden Bugüne İstanbul' da Ulaşım<br />
Piyasa Ekonomisine Geçiş Sürecinde Azerbeycan<br />
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Verimliliğine Etkisi<br />
Sosyolojik Açıdan Türkiye'de Halkın Vergiye Bakışı<br />
Toplumsal Yapı ve Verginin Sosyal Bileşenleri: Tercilıli Vergi<br />
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Tarihin ve Medeniyetin Beşiği Çarşılar<br />
Gökyüzünden İstanbul ibadethaneleri ( =Sanctuaries of İstanbul<br />
From The Sky)<br />
Birinci İktisat Tarihi Kongresi Bildirisi (2 cilt)<br />
Ticaret ve Hayat<br />
Bacıyan-ı Rum'dan Günümüze Türk Kadınının İktisadi' Hayattaki<br />
Yeri<br />
Lojistik Sektöründe Dumm Analizi ve Rekabetçi Stratejiler<br />
Türkiye' de Yayın Hayatı<br />
AB' ye Uyum Sürecinde Türkiye'de Büyükbaş Hayvancılık<br />
Ortadoğu ve Kuzey Afrika Ülkelerinde Ekonomik Dönüşüm<br />
KOBİ'ler için Çin Halk Cumhuriyeti Rehberi<br />
İstanbul-The Grand Bazaar: From Past to Present<br />
İstanbul'un Atlı ve Elektrikli Tramvayları<br />
Dünyada ve Türkiye' de Doğalgaz Sektörünün Yapısı ve<br />
İnovasyonun Rolü<br />
Şehristan İstanbul: Seyyahların Hayal Şehri
20ı0-106<br />
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20ıo-ıo9<br />
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20ıO-ı20<br />
20ıo-ı23<br />
Sağlık Sektöründe Kalite ve Maliyet Analizi: Kamu-Özel<br />
Karşılaştırması<br />
İstanbul Ticaret Odası: Türkiye'nin Gelişimine Adanmış Bir<br />
Kurum (2.bs.)<br />
The Istanbul Chaınber of Coınınerce: An Institution Devoted to<br />
Development of Turkey (2.bs.)<br />
Dersaadette Ticaret<br />
Teknoparklar: Teknolojik Bilginin Ticarileşınesi<br />
KOBİ'lerde Esnek Çalışına<br />
Doğal Taşlar ve Çin Halk Cumhuriyeti Rekabeti<br />
Avrupa Birliği'ne Uyum Sürecinde Türk İplik Sektörü<br />
Türkiye' de Yayın Hayatı<br />
Türkiye'de Film Endüstrisinin Konumu ve Hedefleri<br />
Küresel Mali Piyasalarda Yeniden Yapılanma ve Türkiye<br />
İstanbul Ticaret ve Sanayi Odası Eylülı923- Mayıs ı926 Faaliyet<br />
ve Uygulaınalarına Dair Genel Rapor<br />
Sayılada İstanbul 20 1 O<br />
Dış Ticaret Bilgilendirme Dizisi 5: Sorularla TIR Karnesi Sistemi<br />
Yeni Türk Ticaret Kanunu ve Avrupa Birliği Mevzuatı<br />
Çerçevesinde Ticaret Sicili<br />
lC OC PUBUCATIONS {2011)<br />
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Başarılı İhracatçılar ( =Outstanding Exporters) 2009<br />
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Ekonomik Rapor: 20 ı O Yılında Türkiye ve Dünya Ekonomisi<br />
Econoınic Report: Turkish and World Econoıny in 20 ı O<br />
Limited Şirketler Rehberi<br />
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İslam ve Türk İllerinde Fütüvvet Teşkilatı<br />
Rakamlarla Türkiye Ekonomisi
2011-33 ve