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"Kaptan, Yeşim"

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Théorie(s) et épistémologies des médias

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Résumés

Kaptan, Y. et Algan, E. (2020). Introduction: Turkey’s National Television in Transnational Context. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 1‑24). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_1

The Turkish television industry has undergone great transformation during the past three decades and enjoyed unprecedented success among national and transnational audiences alike. This chapter reconsiders the rise of Turkish television as a global player and an emerging national industry from a new theoretical perspective by situating Turkish television within the contemporary global developments of international television markets and within its own national history, economic, political, and cultural dynamics. By providing different examples of key turning points in its history, we offer a brief overview of TV production, distribution, and reception in Turkey since the beginning of the industry. We also illustrate how societal debates around television content, such as Turkish TV dramas (dizis), have ignited the question of representation and caused a struggle over official narratives, resulting in the entwining of the industry and production processes with politics. In our introductory chapter, we argue that with the increasing demand for content and the expansion of access to online TV platforms, emerging TV industries play an intricate and complex role in reshaping global television flows. Therefore, the case of the Turkish TV industry constitutes a significant example for understanding the current structural transformations in global television and sheds light on the interplay between national and transnational production, distribution, and reception processes.

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Çelik, B. (2020). Televised Journalistic Documentaries of the 1990s: The Form, Content, and Historical Juncture. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 47‑65). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_3

The 1990s’ popular televised journalistic/history documentaries have played a vital role in the making of political television culture, society of political spectacle, and the production of popular history and memory in Turkey. Despite their importance, these documentaries did not attract enough scholarly attention. By focusing on arguably the most popular and impactful journalistic/history documentaries of Turkey’s history, developed by Mehmet Ali Birand in the 1990s, I will assess the role of television in teaching, telling, and writing the political history. In doing so, I will also contextualize the form and discourse of these documentary series within historical juncture of globalization and neoliberalization of television as well as the country’s political economy.

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Karanfil, G. (2020). Continuities and Changes in the Transnational Broadcasts of TRT. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 151‑171). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_8

This chapter traces the evolution of the Turkish Public Service Broadcaster with a focus on its transnationalization. Drawing parallels between the changing dynamics in politics, culture, and media in Turkey; contemporary cosmopolitan media cultures; and the continuities and changes in Turkish Radio and Television Corporation’s (henceforth TRT) identity as a public service broadcaster, I shed light on the ways in which TRT has been engaging in transnational broadcasts since the beginning of 1990s. For this I elaborate on the ways in which transnational broadcasting processes in Turkey have been influenced by media transnationalization around the world. I discuss two different incentives behind TRT’s transnational endeavors. First, I elaborate on TRT’s attempts at engaging with the Turkish diaspora around the world; later, I articulate how, in more recent years, TRT sets out to exert a Turkish cultural presence in the Middle East and North Africa (MENA) region. The chapter aims to draw a general portrait of the concept of transnational broadcasting in Turkey with a specific focus on the country’s public service broadcaster, TRT.

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Irak, D. (2020). Mediatisation and Hyper-commodification of Sport in Post-1980 Turkey. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 173‑188). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_9

Sport has had a symbiotic relationship with television for decades, as it has always been one of the most marketable visual products for the medium. The new visual media technologies that have been introduced since the 1970s have altered this relationship greatly by incrementally commodifying sport at each step. One of the most crucial aspects of this relationship is globalisation, which initially depended on satellite television and took sport’s hyper-commodification to a whole new level. Turkey, which went through a massive transformation to a neoliberal rule following a bloody coup d’etat in 1980 that practically razed the whole social and political structure, has since become an important example of the roles of sport and television in an aggressively neoliberal setting. This chapter aims to explain why televised sport has had a remarkable role in the sociopolitical transformation of Turkey since the 1980 coup.

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Sümer, B. et Taş, O. (2020). The Regulation of Television Content in Turkey: From State Monopoly to Commercial Broadcasting and Beyond. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 27‑46). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_2

In contrast with radio broadcasting, which began in 1927, television started remarkably late in Turkey. When the country’s sole public service broadcaster, Turkish Radio and Television Corporation (TRT), was established in 1964 and all of the radio transmitters were transferred to the Corporation, even radio broadcasting was not successfully institutionalized to catch up with its Western counterparts. For a very young Republic like Turkey, radio was an integral part of the modernization and nation-building agenda of the early ruling elite and therefore it institutionalized as a part of the machinery of the state, under very strict state control. Much known indispensable merits of autonomy and independence attributed to the historical public service broadcasting model in Europe were hardly appreciated and supported in Turkey. Television broadcasting also had its share from this negative perception and had to face similar obstructions as radio from the beginning. This chapter traces the history of content regulation in television broadcasting by situating the political controversies at the center at different times from the 1960s until today. Unfortunately, as the saying goes, there is nothing new under the sun, not in Turkey.

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Yanardağoğlu, E. et Turhallı, N. (2020). From TRT to Netflix: Implications of Convergence for Television Dramas in Turkey. Dans Television in Turkey: Local Production, Transnational Expansion and Political Aspirations (p. 189‑204). Springer International Publishing. https://doi.org/10.1007/978-3-030-46051-8_10

Since the1980s, the television (TV) drama has proved to be one of the most dominant formats on Turkish TV channels and occupied major slots on primetime throughout the 1990s and 2000s. As Internet penetration grew, on-demand services transformed audiences’ expectations of TV series. Internet series first became a trend on YouTube in 2013, and Netflix began broadcasting in Turkey at the beginning of 2016. Its entry to the sector triggered video-on-demand suppliers like Blu TV and Puhu TV which are digital enterprises of Doğan and Doğusṃ Holdings. Blu TV announced their first original project in 2017, Masum (Innocent), which was a big-budget series that included famous actors. In the same year, Puhu TV released their first original, Fi (Phi). Finally, Netflix launched their first original production in Turkey, Hakan: The Protector, in 2018. This chapter focuses on the implications of convergence for the production and distribution of TV dramas and considers the changes in the sector as television broadcasting shifted to new media platforms in Turkey.

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