Ql - ITO

Transcription

Ql - ITO

Copyright © ICOC (The İstanbul Chamber of Commerce)
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DESIGNED, PRINTED BY
G.M. Matbaacılık ve Ticaret A.Ş.
Tel: (212) 629 00 24-25 Faks: (212) 629 20 13
www.goldenmedya.com.tr
Assoc. Prof. Hülya Uğur Tanrıöver
Assoc. Prof. Hülya Uğur Tanrıöver, Galatasaray University, Faculty of
Communication, Department of Cinema, Manager of Media Studies Research
and Application Center (MEDIAR). She does researches on film theories,
sociology of cinema and TV, audience reception theories and gender studies.
She has many scientific publications in fields such as cinema industry in
Turkey, TV culture, representation of women in media and cinema. Besides her
academic studies, Uğur Tanrıöver who is active in cinema and TV fields,
working in positions such as consultant and TV host, is engaged actively in the
struggle against genderism. For more information: http://www.gsu.edu.tr
7
...................................................................................................... 9
................................. ll
7.2. Game shows ....................................................................................... 67
7.3. Women-targeted showson daytime TV ............................................. 69
7.4. News and Debate shows ..................................................................... 70
8. The main fınancial source of TV Broadeasting : Commercials and
spansorship .................................................................................................... 73
9. Television viewing practices and audi ence characteristics ........................... 83
10. Objectives and expectations in TV broadcasting ........................................ 91
Bibliography .................................................................................................... 103
Other ................................................................................................................ 106
occurrence of purchasing
,..,,.,.,,..... +~.... has
the
T
strength
our
the journal named "The position of Film Industry in Turkey and Its Targets"
which has been published before by Our Chamber will be the broadest studies
of the sector.
This study has been prepared in order to follow the changes in social,
economical and cultural structure of Turkey and form the basis for the people
who will do research about Turkish Television, specialists who will determine
the cultural policy and foreign producers who want to do business especially
with Turkish producers and develop the attempts in this respect.
With regard to this, I thank to Associate Professor Hülya Uğur Tanrıöver
and her team who does this research named "Television Broadcasting in
Turkey", whi ch indi cates the development of Turkish television broadcasting
from the beginning until taday and required to be evaluated together with
cinema seetar which is a strategic industry and I wish it will be useful for our
members and relevant persons and organizations.
Dr. Cengiz ERS UN
Secretary General
Today Turkish TV series which have become an important element of, not
only TV but also of cinema industry are one of the common values of society.
These productions are exported more and more frequently to different countries
and Turkey is considered to be similar to Brazil of a certain era in this context.
TV series are not the only productions that are exported. Many original TV
shows or game shows outlast their success in numerous countries from Italy to
China.
İstanbul Chamber of Commerce who takes heedof key industries in our
country contributes largely to the development and marketing of this field by
supporting this much needed study on TV broadcasting. W e would like to
mention Dr. Ayşe Toy Par and R.A. Ece Vitrinel of Galatasaray University
Faculty of Communication for their intensive contribution and R.A. Barış Kara
for his support. W e would like to thank them and Ms. Müge Özen, Mr. Zafer
Çeler, Ms. Hatice Bakanlar who translated this study to English.
This study which aims to present a general panorama and to share some of
the existing literature and sources on the discussed subjects is descriptive by its
definition. Certainly, it will be benefıcial to conduct fresh and more extensive
studies in this field to produce authentic datas.
Assoc. Prof. Hülya UGUR TANRlÖVER
were ._..._.,JIJ'-"" .... "''-' .... ~ ........
countries
these technologies
developed, TV broadcasts have a tardive start.
attempts of broadcasting
953
University;
broadcasts were restrained
absence of a transmitter,
of
public broadcasting was enabled by
broadcasting
It is possible to
histarical "~uu.ı"""·
no.210, Ankara, 1989.
12
İSTANBUL CHAMBER OF COMMERCE
Similar to the BBC model that was used in the country as an example by
the supporters and executives of this attempt, the first years of TV broadcasting
in Turkey are defined by public broadcasting. The primal objective is to offer to
the public the news with sound and image, educational and inforınative content
via this new technology. The very essence of this approach which prioritizes
public service is the execution of TV broadcasts by an autonomous institution
in a politically impartial manner. However, as seen on the table below which
show s the important mo ments in Turkish television history, Turkish Radio and
Television Corporation' s (TRT) principle of autonomy was abrogated in 1971
during another military intervention, preserving only the principle of
impartiality.
The 70s, the decade in which audiences really got acquainted with
television, represent also a one-channel system period producing content in
accordance with state monopoly. Although the broadcasting hours had
increased, seven days a week broadcast had started and reaching all parts of
Turkey was planned; a widespread access could not be maintained due to
technical and socio-economic problems.
Nevertheless, when analyzed sociologically, it is observed that, even ın
those years when not every household passessed a TV, nearly everyone had
already become aTV viewer, and that the seeds of "TV culture" which would
take shape 40 years later, were planted at those times. The interest of public in
this medium even in its first years can be explained by the attachment of the
public to preceding visual culture products, especially to cinema. Asa matter of
fact, the particular intere st of viewers in TV dramas is a strong indication of the
transitivity between these two mediums and of the transformatian of TV series
to an independent "social fact" today. In its first years, TV has also been an
instmment of intensive socialization. In those times when the level of
equipment was poor at households, it was a common practice to visit families
who had TV on days that important shows were on and to watch the show
question with them. "Tele-visiting" has triggered coınmentaries about the TV
shows, arguments that were linked to subjects discussed on TV and also has
TURKISH TELEVISION BROADCASTING 2011
an era
limitations
on
name of public broadcasting caused serious problems
ı4
accordance with the governınent ideology: belly dancing, "arabesque"3 which
was the most popular local music genre, some of the popular comedy films
which were considered inappropriate because of the slang expressions they
have contained although were applauded during their release in theatres, were
among the programs that were banned.
As will be seen in the reıated chapter below, during the reign of Ozal
governınents 4 , which processed towards a normalization period after the coup
d' etats and towards the implementation of liberal economy, legal regulations on
TV broadcasting area have commenced. During this period in which state
monopoly stili persisted, TRT has first started broadcasting on a second
channel, and then on a third one which focused on local broadcasting targeting
South Eastem regions. However, it was obvious that the expectations of the
viewers could not be fulfilled by TRT. Turkey's first private (commercial) TV
station Magic Box, although illegal, has started its broadcasts from abroad in
ı990 by the help of satellite technology. This new channel, which was not
bound by the existing legal structure in the country, became the hotspot of
audi ence s with the diversified altematives of programıning it had offered.
After 30 years of state monopoly, TV has formed one of the privileged
areas for private entrepreneurs.
So much that, Turkey w as introduced to ı O different new channels within a
few years in 90's; the competition between the TV channels has nourished the
search for new formats and contents and also has accelerated the growth of
advertising industry and even of the communication industry in general. This
actual (de facto) situation has generated the need for legal regulations in TV
For a sociological study on arabesque music cf. Meral Özbek, "Arabesk Culture: A Case of
Modemization and Popular Identity", in Rethinking Modernity and National Identity in Turkey,
Sibel Bozdoğan and Reşat Kasaba (eds.), Chapter 12, University of Michigan Press, 1997.
http://library.northsouth.edu/Upload/Rethinking%20Modemity.pdf, 01.08.2011
Turgut Özal was PrimeMinister of Turkey between 1983-1989 and eighth President of Turkey
(1989-1993). He is known by his liberal economic views and by paving the way for the
privatization of state enterprises.
15
area.
1964
1981
1986
1989
1992
1994
1992
1993
1996
on
on
Radio and TV
station started its
NewYear's
First broadcast in color was actne"ired
New TRT Law No. 2954 was acc:ep1cea.
TRT 2 started its broadcasts.
Cable TV bro:adc:ıstuıg
TRT 3 and first channel ınt~encled to local viewers TRT GAP
their broadcasts.
The fırst
Box started
TAM TURKEY
the audience measurement
meter
reg;uı~mo~n that abolished the state mcmopoJlY over radio and .TV
Broadcasts",
First thematic news cha.nm~ı,
TV agreement
18
Montly Time Turkish Population Spent on Cultural Activities (Hrs)
• Total
• Ma le • Female
87,486,588,4
0,70,70,7
1,31,11,5
Cine ma
Radio
0,60,60,5
Television
Video
1,41,41,4
7,7 9 6,4
0,60,50,7
Listening to Written
Music and
and
media and performing
recording
books
arts shows
mu sic
0,30,20,4
Other
cultural
field s
Source: TURKSTAT (2006), http://www.tuik.gov.tr
Today Turkey is one of those countries that TV broadcasting is roaring ın
terms of number of broadcasters and programıning diversity. All with different
technical facilities, sorne with a nationwide and others with local network access,
the total number of TV channels is 4 7 5.
Tab le 2 - The Number of TV B roadcasters
Features
Number
National
Satellite
24
15
210
78
148
TOTAL
475
Region al
Lo cal
Cable
Source: http://www.rtuk.gov.tr
19
20
TV reaches 98% of the Turkish population. In this diversified broadcasting
system where the viewers can choose the channels they like according to their
tastes and needs, there is a very strong competition between the TV channels,
as will be discussed in the relative chapter.
With the emergence of new mediums in the past years, the advertisers are
now obliged to allocate their advertising budgets and this situation pushes TV
stations, like everywhere else in the world, to try new ways in order to attract
the attention of the audiences. High viewing shares are the primary trump that
TV channels use to persuade advertisers.
In Turkey, TV viewing shares are being measured by an electronic "people
meter" system since the 1990s, in other words since the first years that
commercial TV channels started broadcasting and increased the total number of
TV stationsin the country. Until2010, the scrutiny that this system required is
executed by Nielsen TAM Turkey (Nielsen Television Audi ence Measurement
Turkey). This system imposes a syndicated research model which works with
nearly 3.636 "people meters" in 2500 households all over Turkey and makes
projections about the Turkish population over 5 years of age based on viewers'
TV viewing habits. The system is financed by the member institutions and it
puts the detailed data into the service of financers. This measurement system is
criticized for its various aspects such as its application method (technical
difficulties, the criteria of family selection), segmentation of some categories
(especially socio-economic segments) that are us ed to present the results and
ethical inquiries (financially aiding the participants under the name of gifts) 7 .
As a result of these criticisms, TIAK.8 (Television Audience Surveys
Corporation), which was initially founded under the name of "Television
Viewing and Re search Committee" in 1992 by advertisement corporations and
advertisers, has decided to call for tenders in 201 O for this measurement in
These kinds of critics are not specific to Turkey only. For a general presentation ofmeasurement
methods anda study on European examples c. Jean-Michel Brignier vd., Mesurer l'audience des
medias, Ed. Dunod, Paris, 2002.
http://www. tiak. com. tr
measurements
51.2
than 100% since each ""''.,-1"'"''"",'"'~- can
more than one answer to each qw~stıon.
2
22
These data gathered by face-to-face survey methodology is reaffırıned by
the data obtained via people meter (electronic audience measurement) system.
The difference between the percentages stems from the difference between the
measurement/ survey methods; but the ranking among the most popular
channels stays the same, as can be seenin the table below.
Tab le 4 -Most popular TV channels according to viewing shares
Channel
%
D
14.0
SHOW TV
10.6
ATV
9.9
STAR
8.6
FOX
8.1
STV
5.7
Source: Mindshare, 2010 (2009 data)
The RTSC research asked the subjects which channels they would prefer if
they had to watch just one channel. The result shows that the fırst two ranks do
not change, but it is interesting that TRT channels rank third. 10
10
It is a methodologically controversial interpretation to reduce numerous TRT channels to one
single unit and compare it with other singular channels .
5
you were
would
Channel
17.3
Source TV
RTSC
24
gain the terrestrial digital TV multiplex capacity allowance right 11 in the call
(according to the ir rank in the call and the ir analogue channel capacity and as
long as they pay the annual frequency fees) will als o be given the right to
analogue broadcast along with digital broadcast for two years at most.
However, following two year period after the allowance analogue terrestrial TV
broadcasts are going to be abrogated all over the country. That is to say that by
2015, the only terrestrial broadcasting format in Turkey will be digital (DVBT).
Narroweasting
Narroweasting in Turkey began in 1988 with the foundation of Kablo TV,
an affiliated corporation ofTurk Telekom., Kablo TV was detached from Turk
Telekom after the decision to privatize the latter, and became an affıliate of
Türksat A.S. Türksat Kablo TV fumish services in 2ı cities and has about 1
million 275 thousand subscribers. 12 The number of TV channels which
broadcast solely via cable TV is 78. 13
The transition period of narroweasting to digital began with the digital
broadcasting Turksat started in 2008 in ı 7 cities with 8 channels, first ones
being TRT channels. There are now ı27 TV channels, ı2 of them being HD
and ı 15 of them being SD, on this platform called Teledünya which uses the
infrastructure of Kablo TV that does not require a dish antenna. 14
ll
12
13
14
According to the Ciause 3rd of RTSC Law No. 6112, "multiplex", signifies the method used to
unify numerous terrestnal broadcasting services in one or more signals; "multiplex capacity" is
the capacity within the multiplex that is reserved for the transmission of a digital broadcast for
VHF, UHF or FM radio frequency bands, terrestrial TV or radio broadcasts.
Ceren Sözeri, Zeynep Güney, ibid.
Declaration ofRTSC President Prof. Dr. Davut Dursun:
http://www.rtuk.org.tr/sayfalar/IcerikGoster.aspx?icerik_id=5605f266-84ca-4328-90db2b53ab31515b
Türksat, http://www. turksat.com.tr/content/view/122/2 14/
15
16
T.C. Başbakanlık Devlet Planlama Teşkilatı, Dokuzuncu Kalkınma Planı, "Bilgi ve İletişim
Teknolojileri Özel ihtisas Komisyonu
Alt Komisyon Raporu", Ankara 2007
www.dpt.gov.tr/Doc0bjects/Download/3201/oik696.pdf
Declaration ofRTSC President Prof. Dr. Davut Dursun:
2b53ab31515b
17
18
6c3d295ca079
25
26
broadcasting has decreased by half while the number of households which
prefer digital is multiplied by 3,5. 19
Tablo 6 - Broadcast receiving forms in households (% 20 )
2005
2006
2007
2008
2009
2010
Terrestdal
77
63
55
47
42
36
Cable
ll
lO
8
9
8
8
21
40
51
60
68
72
Source: Nielsen, TV Annual 201 O
2.2.4. Internet Protocol TV (IPTV) 21
The ground work Internet based TV broadcasting started in 2008 and after
a trial period of ı,5 years, TTNET, the internet affiliation of Türk Telekom
launched Turkey' s first and only IPTV platform called IPTivibu in three
metropolis in September 20ı0. Even though the platform did not do any
advertising, it has reached 5.000 subscribers by the end of 20ı0. In February
20 ı ı, it changed its name to Tivibu Ev (Tivibu Home) and ıaunched a major
advertising campaign. Its target is to reach over 20 thousand subscribers by the
end of20ı 1.
The two prerequisites that enables the purchase one of three subscription
packages of Tivibu Ev, which offers a total of ıo6 channels 53 of them being
19
20
21
''Nielsen TV Yıllığı 2010- Hanelerde Sahiplik ve Yayın Alma Şekilleri"
http://smgconnected.com/tv-yilligi-201 O-hanelerde-sahiplik-ve-yayin-alma-sekilleri
The total percentage is over 100%, since the transmission method within a household can vary
(for example cable and terrestrial at the same time).
The informationusedin this seetion is taken from Ertuğrul Acar, "Türkiye IPTV 2010 Raporu",
March 2011. To read the report: http://iptv.org.tr/iptv/?page_id=264
TURKISH TELEVISION BROADCASTING 20 ll
27
30
in every two years. The Supreme Council members shall elect a president and a
vice-president among its members. The term of Presideney is two years. " 22
The main function of RTSC is to allocate channels and frequency bands, to
verify the compliance of broadcasts with the provisions of the law and to decide
on the relevant sanctions in cases of violation. R TSC is entitled to make the
decisions in many vital fields for today' s b roadeasting such as the regulation of
advertising breaks, prevention of capital concentration of ownership and
conducting public opinion surveys in order to collect the necessary data of
broadcasting.
The experience gained by the practices in the past years, the need to make a
change in the law regulating the TV broadcasts arose and The Law on the
Establishment Radio and TV Enterprises and Their Broadcasts No. 6112 was
adopted on F ebruary 15th, 201 1 and came into effect in March 20 ll.
The most important changes that this law brings can be summarized up as
the following 23 :
The share of foreign capital in one private radio or television enterprise is
increased from 25% to 50%.
The advertising of over the counter medicines is allowed.
The TV stations are allowed to broadcast 12 minutes of advertising at most
for each one hour broadcast. This way the channels can give advertising
breaks
every 20 minutes
can broadcast 12
of advertising
total. This period of 12 minutes in an hour's broadcast can be used as
wished. So channels, instead of broadcasting advertising every 20 minu tes
as it was foreseen by the form er law, they can broadcast it whenever they
like as long as it does not exceed the 15% of the daily broadcast.
22
23
http://www .rtuk. gov. tr
"Yeni RTÜK Kanunu Neler Getiriyor?", 16.02.2011, http://www.ntvmsnbc.com
31
34
Today, TRT owns ıs channels, each one of them being different than the
other in terms of content, language, co verage area and target audi ence (so me of
the thematic channels contents are broadcast on the same channel altemately).
Among the se channels, the mostly mentioned is TRT 6 (TRT "Shesh"), the
first TV channel in Turkey to broadcast in Kurdish which was launched on
J anuary 1st, 2009. The legal infrastructure in Turkey where official language is
Turkish according to the Constitution has prevented broadcasts in any other
language until today. This situation caused the exclusion of the communities,
especially Kurds, who are the citizens of Turkish Republic but not ethnically
Turkish and who would like to use their native language and make it visible,
from the broadcasting field. It is known Kurds who live in Eastem and South
Eastem parts of the country watch Kurdish TV channels that broadcast via
satellite from abroad. It is possible to access via satellite to ı2 channels
broadcasting in different dialects of Kurdish and reflecting different political
tendencies. Establishing a public TV channel to broadcast solely in Kurdish
came up as a part of "democratic reforms" which w ere initiated in 2009 by the
govemment of the period in order to discuss the identity demands of different
ethnical, cultural, religious ete. groups and decide on the necessary policies in
this field. This attempt which has important symbolic denotations such as
improving intercultural communication and recognizing diverse identities has
brought forth the regulation of the law on radio and TV that prohibits
broadcasts in languages other than the official language. The new law adopted
in 20 ı ı, allows broadcasts in other language s, but aıso includes the phrase
"B roadeasting in Turkish is fundamentaı".
TRT 6 is not the only TRT channel to broadcast in a language other than
Turkish. Opening out to different language s continued to fulfill the needs of the
citizens in domestic broadcasts and also to spread the voice of Turkey to
foreign countries. For this purpose, first TRT Avaz was launched in March,
2 ı st, 2009 to address Central Asia, Caucasians and the Balkans, and offered
content (some of them also being produced in these countries) in Azerbaijani,
Kazaklı and Uzbek. This is followed by the launch of TRT Arabic (TRT el
News
4
1990
2008: TRT
35
36
2009
TRT
2009 (under the
Accessibie from all
around the world
Documentary
Music
General
TRT Arabic
genres)
Arabic
(TRTel
Turkiye)
2010
TRTS
Anatolia
2010
Sports,
documentary,
cinema
General
Altemate contents
offered by local
channels
2011
TRT has recently made an important leap with the diversity of the channels
it offers and its thematic approach that recognizes the different tastes and needs
of the viewers. Besides, by signing a cooperation agreement with Euronews,
which is one of the leading news channels in Europe and in all over the world,
TRT has become one of the biggest partners of Euronews, thus Euronews
started its broadcasts in Turkish which became the 9th language of the channel,
in January 2010.
37
ven though if thematization is considered as a
so
the
programs can reach the target audience, no one can deny the social
cultural advantages
the generalist television25 .
structure
of the general interest channels, that we are going to analyse in details further
down, represents as such a fairly important matter
Turkey, as watching
television constitutes a very important way of socialization and establishing
interpersonal communication. As we pointed it out
a previous research we
on women in Turkey and television culture, the schedule of those generalist
rpr.rpç~pntç~ a
to
'timetable' at
26
during day-time .
VJ.H)J,AUJl'-'.1.0
On the other hand,
as
local production amongst the television
has
to "" ...'"'"....ıgıven
possibility to compete
productions
were dominant in this market.
the fırst years of the
television, when the
had not enough knowledge
experıence
matter,
were no private companies able to produce
formats
and contents, the need
local production was
by showing movies or
home-ınade productions.
Nowadays,
to
,..,..,.,,.... h- 1 a n
deal various formats.
a specialized staff joining
industry
LL"'-'~
to exchange TV .L'V.UL<ı..._.,u.
F-,.L'U''-/ ......
25
26
ıs
.........., ......
Une theorie critique de la television, Flammarion,
... ,,...,,.,.""'n
Kültürü ve
2003.
.L>.HU.HV~H,
Kadınlar",
in
Kadın
40
generalİst televisions
shows that there ıs quite a variety of the programs.
Although even if those channels are defıned as "generalist", we can see that
some kinds of programs have become a driving force of the television, and that
there is e trend to thematization of these channels, even if not said so.
27
Our analysis on the program structure of six national broadcasting
generalİst TV channels shows out the following fındings :
5.1. Kanal D
Garne Show
Other
Debate
4%
Mu sic/
Enterta inment/
Celebrity News
10%
TV Series/
Cu ltu ral/
Educational 6%
Dram as
57%
27
The analysis is realized during the week of April, 30 - May, 6, 2011 on six national
broadcasting generalist TV channels. The channels were choosen in reference to criteria as the
general rating data, the structure of ownership, the quality of being a public TV channel.
Analyzed channels are: KANAL D, ATV, SHOW TV, FOX, TRT 1 and STV.
41
Kanal D is the main TV channel of the Dogan Media Group. We can notice
that its programs are mainly based on tv series and dramas. The total of news,
debates, cultural and educational programs represents about 115 of the whole
program. A very big part of the series and dramas is constituted by local
productions and their rebroadcastings.
5.2. ATV
other
Gcırne Show
ATV is a competitor to Kanal D, as far as the structure of the programs and
the type of productions it presents 28 . One can notice that % of the programs are
series or dramas. If the number of local series broadcasted on prime-time in
ATV is not so different of its competitors (Kanal D, SHOW TV, ete.), the
difference of their share in the program structure comes from several
rebroadcasts of these series, and a more important place accorded by this
channel to broadcast theatre fılms.
28
For a detailed study on this subject cf. Hülya Uğur Tanrıöver et al., Türkiye 'de Film
Endüstrisinin Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları, 2011, p. 47.
42
5.3. SHOW TV
TV Series/
Dram as
30%
News
10% ~
Cu ltural/ ~
Educational
ı%
Music/
Enterta i n me nt/
Ce lebrity News
Debate
3%
7%
During the week we worked on the Cukurova Group's SHOW TV channel,
we noticed that the most important production was television game shows. One
can see that dramas (especially local series) occupy much le ss time (30%) than
in ATV or Kanal D, where they are a driving force. News, debates and cultural
and educational programs represent only 15% of the who le program.
43
5.4. FOX TV
Other
2%
Game Show
11%
lV
Reality
12%
1%
Fox TV has all owed nearly half of its programs (44%) to sene s and
dramas, but we have to underiine that it includes daily series which are not so
frequent in Turkey. Moreover, Fox TV has a special position canceming the
new s and de bates, as 20o/o of the schedule include new s bulletins and if we add
to this the debates almost one third of the programs are of this category.
44
5.5. TRT 1
Game Show
Documentary/
6%
Reportage 9% .....
TV Reality
Music/
Entertainment/
Celebrity News
1%
Otherl
2%
Cultural/
TV series/
Dram as
57%
We can see that serı es and dramas rank first in TRT 1, whi ch is the
generalist channel of public television, as well as with its competitors ATV,
Kanal D and FOX. In addition to that, news, debates, cultural and educational
programs altogether represent 20% of the who le program. Another interesting
point is that 'documentary/reportage' programs which are nearly absent in
liberal commercial channels represent 9% of the program structure.
45
5.6. SAMANYOLU TV
Game Show_...../"'
1%
Documentary/
eportage 5%
-~-Other
5%
TV Series/
Dram as
61%
STV is a commercial channel, but also bears politically speaking
conservative-islamic characteristics. The big part this channel allows to series
and dramas is worth of interest. But we have to outline that the series and
dramas broadcasted by this channel are very different from the ones of Kanal
D, Show TV or FOX. Next to a very small number of classical series, the
emphasis is on dramas with independent episodes, didactical and mostly about
moral education and/or religious information. Moreover, an important part of
the 'series-dramas' category is in fact constituted of 'television movies', which
are quite rare in Turkey. Ifwe don't take into account the 'reality shows' which
represent 12% of the programs, the other categories are represented with the
same (and low) percentage. One can also notice that on this channel, music,
entertainment or show programs don't take place in the same way than it does
on other public or commercial generalist channels.
46
As one can see on the comparative graphs, dramas are clearly roling all the
TV channels except one. Together with this, we observe a trend to
specialization on different TV formats. SHOW TV, especially since a few
years, has the leadership as far as television game shows are concemed. In this
matter, the part of some imported programs like 'Fear Factor', 'Survivor',
'Wipe out' which are intemationally popular formats has to be noticed. The
most important difference of the public channel (TRT 1) from the others is,
apart from the dominant position of dramas, the fact that the different program
categories are almost equally represented. The fact that TRT 1 has the largest
part of documentary/reportage and cultural-educational programs obviously
shows that it works inaccordance with this channel's mission of obeying to the
principles of public broadcasting. W e can als o notice that three of the
commercial and liberal channels that were analyzed had nearly neither
documentary-reportage nor any cultural-educational program.
generalİst
Time Allocated to Different Formats by TV Channels (minutes)
7000
6000
5000
4000
• Kanal D
3000
• Show TV
2000
1000
o
• FoxTV
47
Time Allocated to Different Formats by TV Channels (minutes)
STV
FoxTV
TRT1
Show TV
ı
..
~
~L
Other
Culturai/fducationai
~.
Musıic/Entertainmerı,
~
• Game Show
-
• N Rea lity
• Debate
l~
Kana l D
ATV
~
• Oocumentarv/Reporta~
ı
~
~
o
ete.
-
1000
2000
!
-
3000
~
4000
5000
• Ne~.ovs
-
6000
7000
• TV Series/Dramas
N owadays in Turkey, the lo cal series occupy a special place in the drama
category which represents a driving force for the generalist channels.
Consequently, more information about these productions is necessary to
understand today's Turkish television broadcasting.
to
29
30
In this
Turkish
'de Film Endüstrisinin
50
saw the place of television in their lives increasing very fast. In accordance with
the interest shown by the audience and the results of fırst surveys, the
production of local series has increased more and more around the mid-90's.
From this moment on, the Turkish audi ence of television left nearly completely
the foreign series daiming for "universality" and turned to local series. To
watch local series has become the entertainment and recreation of nearly every
evening after diner time for the majority of the population.
In all the researches we have been ab le to fınd from 1998 until now, the
number of local series has regularly increased. Even if sametimes some other
formats have done a success (such as TV game or reality shows, like the
Turkish adaptation of Taxi Orange) or even if sametimes it show ed some
moments of stagnation, those never lasted long.
Average Number of TV Series Broadcast Weekly
60
so
. 40
Ql
.c
E 30
:s
z
20
10
o
1998
2000
2002
2004
2006
2008
2010
There aren't any sources in Turkey on the annual dispersal of broadcast TV series. The
average numbers shown on this graphic are the results of our personal academic researches
that we have been conducting since 1996.
5
52
Time (Minute)
68-80
81-90
91-100
101-113
Total number of TV series
Number
4
10
12
10
36
Duration of Ep isodes ( minute)
• 68-80
• 81-90
91-100
• 101-113
The graphic includes solely series broadcast on Kanal D, ATV, Fox, Star and SHOW.
If w e consider the top four of those series, the proportion of the long ones
shows a big increase, while the ones below 80 minutes do not even appear in it.
On the other hand, the episodes are rebroadcasted several times in the same
week or in day time or anather evening, which result is that the share of the
series into the channel' s program structure is very high. So, as w e previously
said about the schedules, some channels although they are supposedly
generalİst channels are close to be thematic channel as the now nearly only
broadcast series/ dramas.
31
Awards",
87-90.
54
Cbannels
KANALD
ATV
FOX
STAR
TRTl
SHOW
STV
Total
Number
10
10
9
5
5
4
4
47
Dispersal of TV Series according to Channels
TV series broadcast the week ofDecember 13th-19th on national TV channels
The competition between Kanal D and ATV is not only a matter of number
of series, but also with the rating scores. In the audience measurement results of
December 2010, most of the fırst four leading series belonged to these two
channels.
one
it is
32
33
34
to say
55
56
"genre" characteristics are stable and some others have disappeared or have
emerged according to changes and trends. About the genre characteristics,
comedies, melodramas and detective series are the main categories, as well as it
is thecasefor the movies.
We are giving below the distribution of the 47 series broadcasted between
December, 13th to 19th 2010, according to the research we conducted on the
mo vi e industry in Turkey.
Dispersal of TV Series according to Genres
D
COMEDY
21%
We must underiine that some series, present more than one genre
characteristics, combining, for example, elements of a comedy and those of
thriller in the same production. This characteristic appears in many series
broadcasted in 2010.
However, in any case, it is very obvious as it appears in this table that
drama is the main genre. Moreover, the most favourite series are the ones
bearing the characteristics of the traditional Turkish movie and remembering
the melodramas of Yesilcam in the 60's. Nearly one series out of two is a
TURKISH TELEVISION BROADCASTING 20 ı ı
57
drama/melodrama. Comedy and increasing in the last years the
detective/adventure genres are just following the dramas. The other genres
only showed periodic coming out. For instance, some fantastic movies were
made especially for children towards the end of the 2000s. They were
appreciated for a certain time, but then the audience showed no interest any
more. W e can also mention so me historical series made by TRT and
broadcasted by the channel at some periods of time it judged important. Since
2005, the commercial channels started producing some historical series as well.
At the beginning, there w ere productions focused on recent history (especially
on the military coup period), then some productions about the last years of the
Ottoman Empire and the Turkish W ar of Independence reached high rating
scores, but this situation didn't last. Historical series came up again with the
series on the era of Kanuni Sultan Süleyman and Hurrem Sultan called
'Muhtesem Yuzyil' ("The Magnifıcent Century"). This series started to be
broadcasted in 20 ı ı and w as followed with deep intere st. This series' success
triggered other channels to 'buy' this series at high prices and to make other
series taking place during the Ottoman Empire with the same kind of subject.
Dispersion of TV Series• Genres according to Channels
7
• DRAMA
6
• COMEDY
5
THRILLER/ACTION/WAR
4
• TEEN
3
2
1
o
KANAL
D
ATV
FOX
STAR
TRT 1
SHOW
STV
58
The distribution of different genres shows the efforts to be different
because of the competition of the channels. For instance, ATV, Kanal D, FOX
and SHOW TV which are the most important in terms of number of series give
much more importance to dramas. FOX and Kanal D broadcast some teen
series bearing also melodramatic characteristics, which give those channels a
'drama identity'. However, another important point is that TRT is almost giving
the same importance to nearly all genres of series.
When one considers the distribution of the themes in the series, it becomes
obvious that love and other types of relationships stand in the farefront ; this
situation overlaps the fact that drama/melodrama is the most frequent genre.
The second theme is "stories of ordinary people" : in fact, that kind of themes
comes out from the 'realistic' characters of Turkish series and gives the
audience the possibility to identify with heroes. This theme mles in series
showing families and neighbourhood, which are very important in our history
of series.
Thematic Dispersal of TV Series
WAR/
TERRORISM\
11%
DEEP STATE/
MAFIA
4%
ORDINARY
PEOPLE
38%
When studying the series broadcasted in 201 O' s season, one can see that
Istanbul is the most important place chosen for location as 'the world of series'.
57% of the broadcasted series take place in Istanbul. Other cities have been
energy
35
36
37
The contradiction between
, "urban-rural", "modem-traditionnal" was the center of,
not
melodramas but also of comedies. Situations related to these kinds of contradictions
continue to constitute the main
element
'"''Tn_ı-<ır"""',..,"' '-'HVUF,'"""' "Le modele de la novela bresilienne", in ME;düım1:;nıhoses INA, Ocak
2007, s. 49-53.
60
In cancem to the storytelling form in general, the type of series with a
clean cut ending at each episode does not exist. The importance in Turkey is
given to serials, that is to say that one needs to see all the episodes to
understand the story and the real structure of facts. Consequently, one will be
curious to see the next episode, so that channels are sure of the fıdelity of the
audience. But w e have to take separately the sub-category of sit-com : because
of its general content and format characteristics, every sit-com episode has its
closure. Even detective series use one main story requiring fıdelity, as every
episode itself relatively marks the end of one shorter story/intrigue.
Another comman characteristic of those series is the use of short stories
in relation with the main one, the existence of many stories together and the
interweaving of many events. This is the reason why missing even only one
episode makes nearly impossible to understand the main story (as well as the
smail ones). As a matter of fact, the tradition of remembering so me of the
important sequences of the last episode is now well established and these
fragments reached now 30-35 minutes, nearly representing the length of a
normal series. This is the reason why in the right comer of the screen it now
writesunder the title of the series "summary". In consequence, when this part
ends and the original episode starts, it write s at the same place "new episode",
so that the audience is informed.
When we analyse the characters, connected with the requirements of
the format and storytelling and even if in so me series one character looms large
(for instance Ezel, Polat Alemdar, Behzat C. in the 2010 season), we don't
quite see one major unique-dominant character ruling the main story. In other
words, the Turkish series' structure is composed of multiple characters and the
major effect on the narrative structure is that it gives the possibility of
combining many events and especially to create minor short stories. Combining
many characters and events has a strong connection with the audience. As
Morlleski pointed out, series are signifıcantly loved because the audience can
identify itself to the characters of the series. In such a case, the fact that the
channels target a large audience justifıes that the series have such nature. It
sco res
62
language, due to the increasing of the audiences' "TV-literacy" 38 and critical
approaches.
In Turkish series, families are the first or one of the first reasons why
the individuals are "healthy". Sameone ow es to his family to be a good person
and a good citizen. In the "classical" family series, the family finds out a
solution to the smallest problem, always with solidarity and love surrounding.
It' s always the only reliable reference. Of course, the hidden or the connotative
meaning of this fact is that 'the one who leaves the flock, that is to say the
family, will be taken away by the wolf. In series which focus on adventure and
action, professional life as well as in relationships a little bit of the "mafia
type', the "good" hero finds peace of mind and happiness in his family. On the
contrary, the "real" bad one s have no "family" or are very far from true
traditional family values and relationships.
In the last period of time, we can see a change related to the family :
there are many characters that are divorced or divorcing. This can be explained
as a proof that divorce as a social phenomenon is part of the atmesphere of the
series, even if most of the divorced people are bad ones, "degenerate" or they
end starting a new family. On the other hand, sexual intercourse outside
marriage which were previously identified with bad people only ("Küçük
Sırlar, "Aşk ve Ceza", "Yaprak Dökümü" ete .. ) are now used more frequently,
although they generally lead to bad consequences.
also see that women
for years were
with
the family, even if they had any professional and public relations were shown
mo re for the ir lives inside the family, have started the se last years to open up to
the outside world. It's interesting to see the increasing number of women
38
For further information about this "audience typology" cf. Hülya Uğur Tanrıöver, La
reproduction de la division sexuelle du travail a travers !es pratiques culturelles : images de
femmes dans !es feuilletons de teZevisian turque et leur lecture dans le pays et dans
l'immigration, These de Doctorat non publiee,Universite de Montpellier III, Dep. de
Sociologie, 2003, Directeur: Prof. Dr. Mohand Khellil.
64
Unlike some of their equivalents in Europe, these US originated series are
subtitled, which above all requires viewers to have a certain educational level.
Actually, media planners and advertisers attach importance to such productions
appealing to young, urban and modem populations inelined to W estern culture
due to their narratian style, sense of humor and textual implications. In fact,
the se series are not watched "the most", but followed by a target group with a
net profile.
Some adaptations of foreign serıes have from time to time been quite
popular. "Dadı" (Nunny) and "Tatlı Hayat" (The Jeffersons) are just to name
two of these series started to be transmitted on national broadcasting generalİst
channels in 2000s. Sametimes we can also see productions covering some
elements from foreign series or very clearly "inspired" by them without a
copyright agreement. However, such productions, which last for months and
even years, somehow end up entirely "local" series unrelated to their source of
inspiration although originally foreseen in parallel with the preferences and
likes of viewers.
Anather type of adaptation is "sitcom". Canada originated "Bir Kadın Bir
Erkek" (Un gars et une fille) is the most successful example of such
adaptation. Legally adapted, "Bir Kadın Bir Erkek" is broadcast on an
encrypted digital platform.
are
39
ib id.,
ibid.,
66
producing original formats. Therefore, they preferred "reality shows" that
broadcast judicial cases live and in which presenters follow up and comment on
the cases as they happen. Besides, "investigator joumalism"- oriented programs
using hidden camera shooting to disclose some problems were also produced.
Jost qualifıes these programs as follows: "the programs which tum research or
joumalism into show"40 . Of these programs, the most rooted ones stili exist
with certain stylistic changes.
In the early 2000s, an imported program format broadcast under the name
of "Biri Bizi Gözetliyor"41 drew considerable attention. Actually, the name of
this program its elf, w hi ch means "Somebody is spying on us", started to be
used as a new idiom in daily language to refer to situations in which people
"are observed" openly or in seeret Based on the combination of the idea of
competition with the broadcast of people not knowing each other in advance
but starting to live in the same house on a nearly full time basis, this format was
continued in different versions. Transmitting "raw images" of daily life, this
format inspired a Turkey-specific format in 2004. Moreover, the personal
relations of the participants or their lives in the aftermath of the program w ere
discussed as serious "phenomena" in the broadcast season as these people
underwent certain magazinish or judicial situations. The program "Gelinim
Olur Musun?" meaning "Will you be my daughter-in-law?" was based on the
importance attached to marriage by Turkish TV viewers and the relation and
even conflict between mothers-in-law and daughters-in-law which has become
a tradition. The "Gelinim Olur Musun?" format targets to get mothers
participating in the program to choose the best spouse for their sons among the
single women sitting for marriage. This format was even exported to several
countries. In Italy, this program was nominated for Emmy Awards and its
producers entered a law suit against a program called "Momma's Boy" started
40
41
For a definition of this term, cf. François Jost, Introduction a l'analyse de la television, Ellipses,
Infocom, Paris, 1999, Chapter 5 and Chapter 9.
The first version of this program, which was exported to several countries, broadcast in Turkey
was in fact an adaptation of Austria originated "Taxi Orange".
w as
42
43
44
"ABD 'Gelinim Olur Musun'u ~"..-""''"'"~"
brcmdcaE>tıng season, the program was called "Kim
Yüz
İster?" me:anıng
Turkish currency .
version of this program, cf. Yves
sciences
68
In the 2000s, when coınpetition shows were on the peak, soıne
competitions targeting to test endurance were also broadcast though soıne of
theın were highly criticized. For exaınple, the coınpetition show called "Dokun
Bana" (Touch me) was highly criticized in terms of the health of coınpetitors
and even penalized by RTUK (The Supreme Board of Radio and Television)
due to its possible effects on viewers. In this program broadcast on SHOW TV
in 2001, the competitors were supposed to touch acar for 70 hours. The winner
would be the one who uninterruptedly touched the car the most. 45
The most popular exaınples of this type are foreign formats that have been
broadcast for the last few years. With soıne of their adaptations, they have
turned into real shows and started competing with local TV series, which are
undoubtedly the favorite programs of prime-time TV channels; though not
continuously, they have sametimes achieved a great success (when the
İnıportant ınoments of competitions or their finals are broadcast). Designed by a
British TV producer in 1992 and broadcast on CBS in 2000 in the US,
"Survivor" (initially called "The Last Survivor") was introduced to Turkish
viewers by Kanal D in 2005. Transferred to SHOW TV one year later, the
program divided the competing teams in two group s like "Turkey vs Greece",
"Girls vs Boys", "Lions vs Canaries" (Galatasaray fans vs Fenerbahce fans)
with the purpose of making viewers identify themselves with the teaıns
coınpeting. US originated "Fear Factor" and "Wipe Out" with a similar format
have aroused interest recently.
Anather type of competition show that has becoıne popular
Turkey so
far and can be considered within the framework of talent or skill discovery
programs is "cooking contests". Kitchen culture is an İnıportant coınponent of
our society. Based on this fact, these programs bring together the participants
who are to cook different meals and eat together. In fact, such programs can be
thought to be a new version of cooking programs combining talk shows with
recipe "comers", which are a classical part of "day time broadcast" largely
45
"Dokun Bana Show'a Ceza Getirdi", http://arsiv.ntvmsnbc.com/news/109969.asp
most
46
7Ü
about negative effects. Serious sanctions have been imposed on the programs
that have not taken measures to protect the women participating in the program,
which thus caused tragic results.
Another format which has aroused interest the most in the daytime
broadcast in recent years is "marriage programs". In Turkey, where marriage is
one of the most fundamental social values, any assistance or support provided
to single people to enable them to find suitable spouses is considered to be a
very important proof of solidarity. Besides, in these programs the people who
want to get married teli their life stories. Thus, their content resembles that of
dramas. In this sense, it is possible to say that these programs are the televised
versions of whatis being experienced among neighbors and friends in real life.
Commenting on these programs, the President of RTSC said "They fulfill a
social function". Y et, we cannot say that the se programs have no adverse
effects. Some of the participants have committed erime s by taking advantage of
the program (e.g., some committed fraud or theft with the pretext of marriage;
some attempted to carry out "white marriage" to obtain citizenship). Besi des,
women's groups fighting against sexismin the media eriticize these programs
because most of the female participants want financial assurance (like
properties) as a requirement from possible husbands and the TV programıners
just take this for granted.
7.4. News
Debate Shows
As we mentioned above, in addition to general TV channels which are
quite popular among Turkish viewers, there are also thematic news channels
whose number has been on the rise recently. Such channels have a certain
viewer profile. The viewers of news and "reality-based" contents can also
watch debate shows in which important agenda topics are brought to the tab le.
TV programs with the quality of "forum" or open session in which political
agenda is discussed by different parties became popular also on general TV
channels in the 90s, when mixed broadcasting started. Though broadcast after
47
71
74
When we take a look at the distribution of advertiseınents
w e see that television ranks the first by landslide
ın
different
ınedia,
9
Distribution of advertising expenses among media
M edium
Share.(o/o)
Television
55.85
Press
26.08
Radio
2.87
Openair
6.98
Cinema
L26
Internet
6.97
Though printed media keep its share in the cake to a certain extent, the
biggest change in the distribution of advertiseınents can be seen on the Internet.
The more the Internet is accessed and used, the bigger its share in the
advertising cake is.
On television, the biggest share belongs to national ground broadcasting
channels; however, regional or local channels get nearly no share,while satellite
and wired channels can benefit from only 10% of TV ads. 49
49
Ceren Sözeri, Zeynep Güney, ibid., p.54.
75
Dis persal of TV Advertising Revenue
according to Licence Type
• National TV • Regional TV
• Cable TV • Satellite TV
Cable TV Satellite TV
6%
4%
Regional and
Local TV 1%
The distribution of advertising ineome among channels is in paraUel with
the ratings 50 . In other words, TV companies' primary target is now to have the
fırst ranks in the rating list through assertive productions, which has from time
to time led the competition environment called "wars of rating" to appear. Y et,
the distribution of advertising ineome does not match with the duration of ads.
As it can be seen in the table below, the channels that are at the last ranks of
rating lists or do not participate to the audience measurement system allocate
more time to commercials. It is possible to infer that even the companies which
are commercially less assertive prefer TV as it is the most popular medium for
advertisements.
50
ibid.
76
1O- TV series with the longest ad
TVCHANNELS
ATV
6:920227
NTV
6.795.448
Kanal 7
Fox
6.193.603
Show TV
D
5.976.729
Star
5.965.081
CNNTurk
5.878.871
CNBC-e
Habertürk
TGRTHaber
5.154.368
5.102.165
NTV
4.802.740
Flash
4.763.492
Dizimax
4.500.114
Cine5
4.427.313
TV8
4.414.983
4.142.544
Euro D
Source: The Nielsen Company (2010) cited by C.Sözeri, Z.Güney, ibid., s.56
In
target
51
'"''-'"'""JLLJLLı'"'"''"'ı""'"'"-'
which are so '-''-''-'"'ı'"""'"
terminology) is a subject ""'""""~'"r'rı
Excluding telemarketing and social advertisements.
TURKISH TELEVISTüN BROADCASTING 2011
77
mathematical media planning. It is actually a sociological, cultural and
communicative topic. The advertising pollution graphic below highlights
another dimension of this subject.
TV Advertising Polintion (Adults)
1200
ı
1000
1
ı
soo
ı
600
400
-
2005
2006
2007
2008
-
2009
2010
200
o
Source: NIELSEN TAM TURKEY, Mindshare
This advertising pollution graph shows the number of advertisements
which adults are exposed to ina week in Turkey. The pollution decreases in the
first months of the year and in summer. However, since the month of Ramadan
collides with summer in 20ı ı, an increase in the number of ads is expected.
Because advertisers are busy with preparing their annual strategies in JanuaryFebruary, there are generally less ads during this period. Yet, it is seen that this
trend changed in 20 ı O. In brief, it can be said that advertising pollution is high
in Turkey and it will further increase in the years ahead. 52
"Reception studies", whi ch were started in communication scıences ın
ı 920 and gained impetus after the ı 970s, po int out that "exposure" to a one
52
Hülya Uğur Tanrıöver vd., ibid., 2011, p. 63.
78
single text does not bring about one single form of "reception". On the
contrary, the same text can be perceived in various ways based on peoples'
individual and co lleeti ve life stories and experiences 53 . When it comes to TV
ads, it should be noted that the electronic rating system measures not the act of
"watching" but just the TV channel w hi ch is on.
As a matter of fact, a field study we have carried out for another research
reveals that the viewers of TV series, namely the most favorite TV programs of
advertisers, watch the ads very little. The advertisers, however, assume that ads
constitute the way through which viewers "reach" them 54 .
Vi.ewers' Tendancy to Watch Advertisements on
Advertising Breaks
•
•
•
•
53
54
Always watches
Usually watches
Often watches
Never watches
There are many sources on "communication theories". For example see. Annand Mattelart ve
Michele Mattelart, İletişim Kurarnları Tarihi, İstanbul, Cem Yayınlan, 1998. Considered as a
"founding text" in reception theories Stuart Hall, "Encoding, decoding", inCulture, Media,
Language, Hutchinson, Stuart Hall et al. (eds.), Londres, 1985. For a comprehensive scientific
study on viewers and reception, see. Brigitte Le Grignou, Du côte du public. Usages et reception
de la television, Ed.Economica, coll.Etudes Politiques, Paris, 2003.
Hülya Uğur Tanrıöver et al., ibid., 2011, p. 177-179.
79
Asked on what they do during the commercials, one out of 4 viewers says
that when ads appear, they leave the room where they watch TV and
approximately 1 out of 3 people passes to anather series broadcast on anather
channel.
Activities During Advertising Breaks
1%
5%
• Changes the channel, watches
anather TV series
Changes the channel, watches
anather program
Zaps between the channels
Stays in the room, busies
lıimsel: f/herself with other
activities
Chats w ith the other viewers in
the room {family, spouse,
friends ... )
Leaves the roomtorun same
errands (make tea, hang
laundry ... )
nthPr
As it can be seen in our study detailing this subject, 41% of women, who
are one of the most fundamental target groups of advertisers, leave the room
when ads are being broadcast.
Aware of this situation, advertisers are gradually modifying the ir strategies.
Turkish advertising sector is very successful in terms of creativity, which can
also be understood from many awards granted to Turkish advertisers in several
professional milieus at international level in addition to the importance attached
by the world's biggest advertising agencies to their Turkish associates. To
ensure that the ir advertisements on TV, the most popular medium, reach the
target group, advertisers apply different strategies: embedding products in the
8Q
programs, using virtual advertisements, shooting advertisement series, featuring
stars in their advertisements, ete. In fact, the very purpose of these efforts is to
make their investments rentable.
On the other hand, marketing communication and integrated marketing
approaches are becoming more and more important. Based on this, many
advertisers have been developing their spansorship business in addition to
classical advertising. Spansorship provides the necessary basis to reach the
target group especially on TV: Companies manufacturing the dothes of a
presenter in a TV program or the main character in a TV series and the
companies offering the fumiture and accessories in the place where the
program is shot are important from the viewpoint of viewers. The main spansor
of a popular program is sametimes presented with the "( ... ) presents" motto.
This alsomakes viewers perceive the company/brand in question as an integral
part of the program and has a positive effect on the brand awareness and image.
As a matter of fact, our study on TV series viewers shows that they show
interest in sponsorship, which is a relatively newer domain compared to
classical advertisements.
The Attention Paid to Sponsors of TV Series
17%
Pays atterıtion
Never pays attention
Never notices
TURKISH TELEVISION BROADCASTING 20 ı ı
55
81
COUNTRY
Hour: Minute
05:39
05:18
Gr eec e
05:03
04:47
Global Nielsen '-'V'""'"'''u""'ı
2010
84
higher in some specific social and professional categories such as housewives,
retired
or people with problems of involving in outdoor
activities.
Audience measurement studies point out that the most watched programs
in Turkey in annual average are, despite periodic and short term changes, local
TV series,. According to field surveys conducted through face-to-face
questionnaire method, the results are slightly different: N ews or prime time
news are the most watched programs, and TV series are in the second rank. For
example, according to the survey conducted by RTSC (Radio and Television
Supreme Council) in 2009, news are in the first rank with a rate of 93.7 % in
the list of the most watched programs, "local TV series" are in the second rank
with a rate of 86.2 %. However, this could be resulted from the difference
between declaration and behaviour as often observed in studies on conviction
and social behaviour. In other words, people prefer declaring "socially
acceptable behaviour" rather than saying the truth. Moreover, according to the
RTSC's survey, "religious programs" occupy the third rank with a rate of 61.8
& in the list of most watched programs, this also signifies a deviation resulted
from the methodology, because in spite of such a popularity as declared by the
audience, there is no such a high demand for such programs in the television
market. On the contrary, as we have seen above in the seetion analysing the
broadcasting stream of some selected channels, such programs do not occupy a
large part to constitute a separate category56 even in the channels giving a
special emphasis to religious-spiritual matters. Periodic tendencies should be
taken into account regarding this topic.
month of
is a very special
period in Turkey because of its sanctity for Muslims. Even channels which do
not broadcast religious-spiritual programs in other months of the year contain
many programs discussing
importance of Ramadan
dev otion during this
special period.
56
For this reason, in our study of analysis, programs with religious content were analysed
according to their structural features under the titles of education-culture or discussion.
85
Studies conducted on the audiences of TV series indicate the wellestablished character of this habit. Almost half of the audiences (46 %) declare
that they watch 2-3 TV series each week. A group of audiences consisting 36%
of the total declare that they watch more than 4 TV series each week. This fact
shows that the character of "the TV series watching" can be deseribed in terms
of loyalty and multiple-watching rather than being an occasional practice.
The Number of TV Series Watched Weekly
22%
1 TV Series
2-3 TV Series
4-5 TV Series
Mo re
Many studies displayed that the habit of watching television in general and
watching TV series in particular is a "social" activity in Turkey. However,
since there are no recent studies providing suffıcient data about the general
television watching practices, the data obtained from the people within the
category of "TV series audiences" will be analysed regarding characteristics
and analysis of the audiences 57 . This approach is methodologically convenient
since almost every television audience in Turkey is also a "TV series
audience".
In Turkey, three out of fo ur audi en ce s declared that they watch their
favourite TV series together with their families. This rate is much higher for
women than for men.
57
Hülya Uğur Tanrıöver et al., ibid., 2011, p. 160-177.
86
Table 12 - Do you watch your favourite TV series generally alone or with
your family?
BASE
1083
I watch aloiıe
I watch with my family
It depends on TV series
The habit of watching TV series not only together with family members
but also with friends is a kind of continuation of "tele-visiting" practice of the
past days where TV sets were in limited number in Turkey. Many people
denote that when they visit other people or are visited by other people, they
watch the series on TV altogether and chat about them. A person interviewed in
our qualitative field study deseribed this situation as: "In the evenings we visit
other people or they come to visit us. There is X (name of TV series) on
television. The subject on the series is spontaneously broached and we talk
about it." (A; Female; 25-34; manager, single; Samsun).
Certain ritualistic behaviours have been developed regarding watching TV
series. Studies w e have conducted since 1996 showed that the se rituals have not
changed but more deeply established. People who were interviewed during our
questionnaire surveys were asked whether if they perform one of those
established behaviours, the tab le below displays the percentages of the people
who adopted those behaviours more or less.
statements
Tab le
SEX
STATEMENT
FEMALE%
Even if there are other TV sets in the
MALE %
we
like to watch the same TV series on
a single TV set
Ifwe watch TV series together with couple ofpeople,
we deliberate on that series.
84,3
we drink tea or
ete.
W e compare the
or stories in it with the
if there is a series
own and
When
office or in neighbours' house is our
favourite
of conversation.
62.0
87
88
within their own communities and for maintaining and even establishing
emotional bo n ds with the ir homeland. 58
The general approach of audiences of TV series towards the regulation of
broadcasting in Turkey indicates that there is a fairly liberal mass of audience.
They do not approve the penalties imposed by R TSC for the infringement of
broadcasting principles. They prefer regulation of broadcasting times instead of
penalties. Almost 2 out of 3 audiences think that "some TV series should be
broadcasted in Iate hours instead of being subjected to penalties". Furthermore
audiences think that controlling over TV programs should be in the hands of
audiences, so the regulation of broadcasting should be left to the free-market
principles. Almost 3 out of 4 audiences state that "I think criticisms against TV
series are absurd, if you do not like them, then do not watch them".
Television watching practices have been gradually regarded as an
important sociological phenomenon, and theoretical studies in this field have
very much increased recently, these scientific studies do not only question
"what and when audiences watch" but also "why", "how" they watch and "for
what" reasons. Studies conducted in Turkey regarding television audiences in
terms of such perspective present very significant findings. U nderstanding how
audiences utilise television programs for their own needs is quite important to
comprehend the prominence of this media and its content59 .
The findings that we obtained from our field studies demonstrate that
although TV series are completely fictional, audiences get "documentary"
benefits from these programs: TV series shot in particular regions or places
introduce these places to the people just like documentary movies; such as
"Mardin houses", "streets of Beyoğlu" or "mountain pastures of Blacksea
58
59
For detailed information cf. Hülya Uğur Tanrıöver, "La Construction des identites et socialites a
travers les pratiques culturelles : les irnmigres turcs et les feuilletons televises", in Diversite
CuZturelle en Turquie et en Europe", A. Boeckel, I. Karakas (dir.), L'harrnattan, Paris, 2004.
There are many scientific studies conducted in this field. For example see David Morley,
Television, Audiences and Cu/tura! Studies, Routledge, London and New York, 2003 (1 192).
60
61
Kitle
92
Dispersal of TV Advertising Revenue
according to licence Type (%)
100
90
80
70
60
50
40
• Nationa l TV
• Regiona l TV
Loca l TV
• Cab le TV
Sa te ll it e TV
30
20
10
o
2008
2009
2010
Source: Mindshare, 201 O
Sözeri and Güney state that media groups owning more than one television
channel dominate the most of the market , therefore the market is very much
concentrated in the hands of these media groups. Sözer and Güney utilise the
table belove to show the concentration rate in the market, and in this table they
include HHI (Herfindahl Hirschman Index) 62 to display the share of each
company in this concentration within the market, and the market share (CR%) 63
and the share in concentration of four media groups which dominate the 80 %
of the market. Sözer and Güney pointed out that HHI values between 1500 and
2500 signify a medium level concentration according to the standards
determined by the Secretary of Justice of The United States of America, and
62
63
Herfindahl Hirschman Index: Developed by Hirschman and formulated by Herfindahl, this
index displays the share of each company in concentration and considers the total distribution.
According to this index, if the total sum of the squares of the market shares of the first two, fo ur
or eight companies in the market is below 1500, as a general tendeney it can be said that the
industry is not concentrated. If the values are between 1500 and 2500, then the industry is
medium concentrated, and if it is above 2500, then the industry is highly concentrated. Ceren
Sözeri, Zeynep Güney, ibid, p.54.
CR% (Concentration Ratio): It shows the market shares. Ceren Sözeri, Zeynep Güney, ibid,
p.55.
group
19
361
15
8
64
65
64
94
Market Shares of Media Groups in TV Broadcasting
Source: Mindshare, 201 O The total percentage of market share on the graphic is 99% as the
real total market share of the 4 groups of whose market shares are indicated as zero adds up
to 1%.
The general profıle of the people working in the television broadcasting
sector is a good indicator of the newly developing character of this sector.
Sözeri and Güney summarizes the fundamental data defıning this profıle as
such:
"According to data provided by Social Security Institution, the number of
employees with social security working in sectors of "television production and
broadcasting" and "production activities of cinema movies, video and television
95
programs" 66 is ı 348 ı. 8 ı % of all employees are working in İstanbul based
institutions and 8 % of them is working in Ankara.
Television broadcasting seetar is a relatively new seetar comparing to
established sectors such as the press. Employees working in the television
broadcasting seetar are mostly young or middle-aged people, and the number of
experienced employees is low. The percentage of the number of men (67 %)
working in the television broadcasting seetar is much higher than that of
women (33 %).
Dispersaf of Employees in TV Broadcasting Sector
according to Ages
Source: Social Security Office data, November 2010
The number of the employees with social security and with a tenure of less
than five years is quite high." 67
66
67
The employees in this sector was not included in television broadcasting sector, because
employees especially working in the public sector are registered in sector of "production
activities of cinema movies, video and television programs".
Ceren Sözeri, Zeynep Güney, ibid, p.52.
96
Service Term of Covered Employees in TV Broadcasting
Over 10
6%
Source: Social Security Office data, Novernber 2010
Although these data are quite explanatory, the total labour force in the
television sector is much higher than the numbers stated by the Social Security
Institution. First of all, the media sector has a large number of free-lance
employees. As a result of technological developments some groups prefer
flexible working hours, however it is not easy to specify a defınite number
about such groups. As we have discussed in previous parts, the production of
TV series in Turkey has become a sector on its own. People working in
different levels of this sector can be considered as "television employees".
Some employees might be registered in social security institutions by some
channels working with their own or fellow production companies. However, in
TV series sector w hi ch should be considered within the "movi e industry", the
unregistered employment is very much widespread. As we mentioned in our
previous studies, one of the faremost demands of the employees in this sector is
registration of labour force through regulations in accordance with the
conditions of the sector68 .
68
Hülya Uğur Tamıöver, ibid., 2011, p. 210.
69
70
71
98
Besides the Faculties of Communication, 7 Fine Arts Faculties provide
"Cinema-TV" education. There are also several institutions providing
certificate programs on television broadcasting and television joumalism such
as Pera Güzel Sanatlar, TURVAK, Akademi İstanbul.
Turkish television series in particular and Turkish television programs in
general fınd an important place not only in domestic market but also in
international markets. Even in the period of public television broadcasting on a
single channel in 1981 TRT started exporting programs to different countries.
Obviously at that time because of the nature of the public broadcasting, the
main aim was not to gain profıt but to introduce Turkish culture and provide
Turkish citizens living abroad with programs in their own language and culture.
In 1981, 52 productions including documentary movies, movies and series were
sold to 9 countries mostly in Europe. In 1986, TRT was represented in its own
stand of representation in Cannes Film Festiva1. 72 However, Turkish television
prorgams became really widespread in the 2000s. First, the TV series of Kanal
D titled as "Gümüş" (Noor) was sold fırst to Egypt and then to other Middle
Eastem and Gulf countries as a result of international connections built up by
the broadcasting company. As a result of this expansion started in 2006,
"Gümüş" had a great success in these countries just like "Dallas" or "The
Young and The Restless" once had. Its name was change d as "Noor" and
became a sensational phenomenon. As stated by the producer of this series,
many factors had their share in this success. First of all, one of these factors is
the positive image that Turkey has gained recently in the Middle Eastern and
Arab-Muslim societies. Second, although having a Muslim population, Turkey
has much more liberallife styles, so Turkey became a model for these countries
and such kind of life styles was transmitted through "Gümüş" and other TV
productions. Third, the main character of the series was a strong and
independent woman who can overcome diffıculties with her own determination
without the h elp of o man73 .
72
73
For more information in this subject cf. Özden Cankaya, ibid, 2002, p. 241.
In-depth interview with the producer, 22 July 2011.
74
75
76
100
recognition, so the demand for these products increased in international
markets: Clothing, household textiles, accessories, furniture, automobiles,
technological products, food products are some of these products. Places,
towns, regions, districts where TV series are shot became the favourite spots of
domestic and international tourism. For example, tourists coming from the Gulf
or Middle Eastern countries vis it Abut Yalı sı the main setting of "GumusNoor" series before visiting historical venues, so Abut Yalisi became a sort of
museum and a lucrative commercial venture. In terms of domestic tourism,
Cappadocia region as the setting of "Asmalı Konak" series which was on TV
during 2002 became a favourite point for domestic tourists. The region was
discovered by tourists as a result of this TV series although the region has
profound historical and natural importance. As a similar case , after the
broadcasting of "Muhteşem Yüzyıl", a TV series based on the lives of
Süleiman the Magnificent and his wife Hürrem Sultan, the number of domestic
visitors of the Topkapı Palace increased rapidly. Furthermore, after "Muhteşem
Yüzyıl", there was an increasing interest towards books and cultural and
discussion television programs about Ottoman history. This reveals that TV
productions and movies do not have only commercial values but also positive
features regarding culture.
In accordance with all these developments, Ministry of State responsible
for Foreign Trade declared that the sector of cinema and movi e w as included as
24th sector within the sectors eligible for state support for exportation as of
2010. In this context, regulations were made to provide supports for the movie
and cinemasector as other sectors enjoy.
As privileged export products, Television productions and especially TV
series became subject to some critical comments particularly coming from the
countries which these TV production are exported to. These critical comments
were especially about the format and technical features of these productions.
Within last few years, the durations of the episodes became quite long to
exploit the commercial capacities at maximum level, however broadcasting of
Turkish TV series abroad became impossible due to such long episodes. For
102
field especially in continental Europe 80 , it became a very densely studied
academic field in the academic world in Turkey. 81
Today, Turkish television broadcasting with its pluralistic character, its
variety and richness is in a very positive position. To ameliorate this position,
all the partners in sector should develop long term strategies instead of daily
plans which will be detrimental for the sector in the long run. For example,
taking the commercials out of daminance of increasingly stereotype TV series,
directing productions to matching audiences and distinguishing regulations
from punishments are some of the step s that should be taken in this direction.
Turkish TV producers and broadcasters participate to different
international organizations, pitching forums, ete.
where
they meet
professionals of their sector. They have to take profit from the actual positive
conjoncture and work to elaborate new conditions to develop Turkish TV
broadcasting even in national then international markets, by creating new
dramas, new formats and also co-production opportunities. It will be not only a
benefit for the TV broadcasting sector but for the whole image and situation of
Turkey.
80
81
These debates stern from the approach daiming that every media audience is already a "media
literate", and they can develop different literacy styles suitable for their own needs. A centrally
organİsed education of media literacy is criticised of being "elitist" and of being a tool in the
hands of official ideologies.
As an example cf. Nurçay Türkoğlu, Melda Cinmen Şimşek (ed)., Medya Okuryazarlığı,
Kalemus, İstanbul, 2007.
o
et
Mesurer
Kurumunun
sciences
ÇELENK Sevilay (2010), "Aşk-ı Memnu'dan
serüvenimiz", Birikim, p. 18-27.
Aşk-ı
Memnu'ya yerli dizi
HALL Stuart (1985), "Encoding, decoding", in Stuart Hall et al. (eds.), Culture,
Media, Language, Hutchinson, Londres.
JOST François (1999), Introduction
Infocom, Paris.
a
l'analyse de la television, Ellipses,
LE GRIGNOU Brigitte (2003), Du côte du public. Usages et reception de la
television, Ed.Economica, Coll.Etudes Politiques, Paris.
MAJORET Eric, MACE Eric (2005), Penser !es mediacultures. Nouvelles
pratiques et nouvelles approches de la representation du monde, A. Colin et
INA, Paris.
MATTELART Arınand ve Michele (1998), İletişim Kuramiarz Tarihi, Cem
Y ayınlan, İstanbul.
MODLESKI Tania (1982), Hznçla Sevmek, Pencere Yayınları, İstanbul.
MORLEY David (2003), Television, Audiences and Cu/tura! Studies,
Routledge, London and New York (1992).
Meral (1997), "Arabesk Culture: A Case of Modemization and
Popular Identity",
Rethinking Modernity and National Identity in Turkey,
BOZDOGAN Sibel and KASABA Reşat (eds.), Chapter 12, University of
Michigan Press. http://library.northsouth.edu/Upload/Rethinking%20Modernity.pdf
ÖZKAN Evrim Töre (20 10), İstanbul Film Endüstrisi, Bilgi Üniversitesi
Y ayınlan, İstanbul.
UGUR TANRıÖVER Hülya, et al. (20 ı ı), Türkiye 'de Film Endüstrisinin
Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları.
UZUN Ruhdan, "İstihdam sorunu bağlamında Türkiye' de iletişim eğitimi ve
öğrenci yerleştirme", İletişim Kurarn ve Araştırma Dergisi, no 25, Yaz-Güz
2007, p. ıı7-ı34.
WOLTON Dominique (1990), L 'Eloge du grand public. Une theorie critique
de la television, Flammarion, Champs, Paris.
OTHER
Calinos, http://www .calinos.com/tur
Republic of Turkey, Ministry of Development, http://www.dpt.gov.tr
IPTV Association, http://iptv.org.tr/iptv
Platform of Communication Faculties, http://ifop.kocaeli.edu.tr
İsmail Cem TV Awards Almanac (2009).
İstanbul Chamber of Certified Public Accountants 2008-20 ı O "Economy of TV
Series"
Report.http://archive.ismmmo.org.tr/docs/yayinlar/kitaplar/20 ı O/ı O_ ı 0%20dizi
%20arastirmasi. pdf
"Nielsen TV Almanac 20 ı O", Starcom MediaVe st Group Connected,
http://smgconnected.com/tv-yilligi-20 ı 0-hanelerde-sahiplik-ve-yayin-almasekilleri
NTVMSNBC, http://www.ntvmsnbc.com
Radio and Television Supreme Council (RTSC), http://www.rtuk.org.tr
lC OC PUBUCATIONS (201 O)
2010-1
2010-2
2010-3
2010-4
2010-5
2010-6
2010-7
2010-8
2010-9
2010-10
2010-11
2010-12
2010-13
2010-14
2010-15
2010-16
2010-17
2010-18
2010-19
2010-20
2010-21
2010-22
2010-23
2010-24
İstanbul 'un Renkli Hazineleri: Bizans Mozaiklerinden Osmanlı
Çinilerine
Çarşı - Esnaf : Kapalıçarşı
Bir Zamanlar İstanbul: Şehir Mektupları (2.bs.)
İstanbul' da Kırk Yıllık 40 Le zzet Durağı (=Forty Years O Id 40
Taste Havens in İstanbul)
(29x29 cm)
İstanbul' da Kırk Yıllık 40 Le zzet Durağı (= Forty Years O Id 40
Taste Havens in İstanbul
(20x20 cm)
Türk Yan Sanayi Borsası Üye Profil Araştırması (Türkçe- İng)
Edebiyatımızda Ticaret ve Taeider
Haberlerden Yansıyan İTO: 2009
Fiyat İndeksleri (=Price Indices)
Makroekonomik Göstergeler (=Macro Economic Indicators)
Osmanlı' dan Cumhuriyet' e Özel Girişimciliğe Yönelik Devlet
Politikalan
Büyümenin Yolu Afrika' dan Geçiyor
Bilim- Teknoloji-İnovasyon Temelli Ekonomi ve Toplum
İstanbul Özürlüler İstihdam Araştırma ve Geliştirme Raporu' 2009
İstanbul Halkının Dilencilik Olgusuna Bakış Açısı
Şehbender Raporlarına Göre !.Dünya Savaşı Öncesi Osmanlı
Ticareti
Türkiye'de AR-GE Teşvikleri
Avrupa Birliği'nin Serbest Ticaret Anlaşmalan'na Türkiye'nin de
Dahil Edilmesi
Dünyada ve Türkiye'de e-İhracat Uygulamaları
Mesleki ve Teknik Ortaöğretİrnde Finansman Harcamalar ve
Maliyet
Türkiye İçin Yeni Bir Büyüme Modeli
Güneş Koliektörü Uygulamaları
İstanbul Kentiçi Ulaşımında Servis Taşımacılığı
Türkiye'den Az Gelişmiş Ülkelere Sermaye Göçü (Relokasyon)
201
ı
2010-50
2010-51
2010-52
2010-53
2010-54
2010-55
2010-56
2010-57
2010-58
2010-59
2010-60
2010-61
2010-62
2010-63
2010-65
2010-66
2010-67
2010-68
2010-69
2010-70
2010-71
2010-72
2010-73
2010-74
2010-75
2010-76
2010-77
2010-78
Nobel'in izinde İktisat Kuramının Gelişimi
Mikroekonomi ve Makroekonomi Düzeyinde Küresel Rekabet
Gücünü Etkileyen Faktörler ve Stratejiler
Yolu İstanbul' dan Geçen Kervan'ın Sarayları
Çarşı-Pazar İstanbul
El'muallim-i El'eseriyete El'islamiyete fı Medinete İstanbul
Kurumlarla Yakın Ekonomi Tarihi
Türk Basım Sanayisi Temel Göstergeler ve Eğilimler 2009
Sigorta Prim Teşvikleri ve İşçi Ödenekleri
Dünden Bugüne İstanbul' da Ulaşım
Piyasa Ekonomisine Geçiş Sürecinde Azerbeycan
Hazır Giyim İşletmelerinde Kurum Kültürünün İşletme
Verimliliğine Etkisi
Sosyolojik Açıdan Türkiye'de Halkın Vergiye Bakışı
Toplumsal Yapı ve Verginin Sosyal Bileşenleri: Tercilıli Vergi
Türk-Japon Ticaret İlişkileri
Tarihin ve Medeniyetin Beşiği Çarşılar
Gökyüzünden İstanbul ibadethaneleri (=Sanctuaries of İstanbul
From The Sky)
Birinci İktisat Tarihi Kongresi Bildirisi (2 cilt)
Ticaret ve Hayat
Bacıyan-ı Rum'dan Günümüze Türk Kadınının İktisadi' Hayattaki
Yeri
Lojistik Sektöründe Dumm Analizi ve Rekabetçi Stratejiler
Türkiye' de Yayın Hayatı
AB' ye Uyum Sürecinde Türkiye'de Büyükbaş Hayvancılık
Ortadoğu ve Kuzey Afrika Ülkelerinde Ekonomik Dönüşüm
KOBİ'ler için Çin Halk Cumhuriyeti Rehberi
İstanbul- The Grand Bazaar: From Past to Present
İstanbul'un Atlı ve Elektrikli Tramvayları
Dünyada ve Türkiye' de Doğalgaz Sektörünün Yapısı ve
İnovasyonun Rolü
Şehristan İstanbul: Seyyahların Hayal Şehri
20ı0-106
Sağlık Sektöründe Kalite ve Maliyet Analizi: Kamu-Özel
Karşılaştırması
20ıo-ıo7
20ı0-108
20ıo-ıo9
20ıo-ııı
20ıo-ıı2
20ıo-ıı3
20ıo-ıı4
20ıo-ıı5
20ıo-ıı6
20ıo-ıı7
20ıo-ıı8
20ıo-ıı9
20ıO-ı20
20ıo-ı23
İstanbul Ticaret Odası: Türkiye'nin Gelişimine Adanmış Bir
Kurum (2.bs.)
The Istanbul Chaınber of Coınınerce: An Institution Devoted to
Development of Turkey (2.bs.)
Dersaadette Ticaret
Teknoparklar: Teknolojik Bilginin Ticarileşınesi
KOBİ'lerde Esnek Çalışına
Doğal Taşlar ve Çin Halk Cumhuriyeti Rekabeti
Avrupa Birliği'ne Uyum Sürecinde Türk İplik Sektörü
Türkiye' de Yayın Hayatı
Türkiye'de Film Endüstrisinin Konumu ve Hedefleri
Küresel Mali Piyasalarda Yeniden Yapılanma ve Türkiye
İstanbul Ticaret ve Sanayi Odası Eylülı923- Mayıs ı926 Faaliyet
Dair Genel Rapor
ve Uygulaınalarına
Sayılada İstanbul 20 1O
Dış Ticaret Bilgilendirme Dizisi 5: Sorularla TIR Karnesi Sistemi
Yeni Türk Ticaret Kanunu ve Avrupa Birliği Mevzuatı
Çerçevesinde Ticaret Sicili
lC OC PUBUCATIONS {2011)
20ıı-ı
Başarılı İhracatçılar (=Outstanding Exporters) 2009
20ı1-2
Fiyat İndeksleri (=Price Indices)
Makroekonomik Göstergeler(=Macroeconoınic Indicators)
Haberlerden Yansıyan İTO: 2010
Ekonomik Rapor: 20 ı O Yılında Türkiye ve Dünya Ekonomisi
Econoınic Report: Turkish and World Econoıny in 20 ı O
Limited Şirketler Rehberi
Ekınekçilik Sektör Araştırınası
İslam ve Türk İllerinde Fütüvvet Teşkilatı
Rakamlarla Türkiye Ekonomisi
20ıı-3
20ıı-4
2oıı-5
201ı-6
2oıı-9
20ıı-ıo
20ıı-23
2oıı-29
2011-33
ve

Ql - ITO

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