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This chapter explores the social and cultural factors that have contributed to the success of Turkish programs in the Arab world. Following the cancelation of Turkish serials on the Arab world’s largest networks in Saudi Arabia and the United Arab Emirates, this chapter will explore how dedicated Arab fans are continuing to watch Turkish shows via alternative platforms after having seen them become such a large part of their daily lives and a permanent fixture on their screens in recent years. By using the Gulf State of Qatar as a departure point, it will examine why Turkish content resonates so closely with female Arab audiences, while also determining their viewing motivations and how Turkish serials have managed to fill a void among its viewers that Arab media has failed to satisfy. At the same time, this chapter will discuss why Turkish dramas have been widely perceived as a women’s genre despite being prime-time serials in Turkey.

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.

This book provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao's discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.

Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

Satellite television has not only provided migrant communities with stronger ties to their home countries but also enabled second-generation migrants in particular to know more about their country of origin beyond their family ties. The aim of this chapter is to explore the ways in which Turkish television contributes towards the making of the transnational identity of the “twice minority” group of Alevi Kurds through what I call mediatised culturalisation. Drawing on 17 in-depth interviews that I conducted with the second-generation members of the Alevi Kurdish community in London in 2016, I explore the role of Turkish television in contesting the boundaries of transnational social imaginaries of the second-generation viewers.

Playing back to the Empire, in videogames, is rife with tensions. The imperialist sentiment inherent in reverse-colonist discourse featured in most strategy-based videogames like Europa Universalis IV, where the player could conquer Europe playing for the Marathas, has been noted by Souvik Mukherjee (2017) as playing into the colonial logic while futilely trying to challenge it. Studio Oleomingus, an Indian two-man game studio, is one of the few involved in a different experiment. Their mythical game Somewhere, chronicling a postmodernist search for identity and narrative in the forgotten city of Kayamgadh, has generated significant spin-offs into its universe. With attention to one such spin-off, I will focus critical attention on the issue of the postcolonial gaming of the Museum in A Museum of Dubious Splendors. I will examine the New Museological implications of A Museum of Dubious Splendors, keeping in mind Museologist Eilean Hooper-Greenhill’s assertion of museums embodying “the power to name, to represent common sense, to create official versions, to represent the social world, to represent the past” (Hooper-Greenhill 2001: 2). Oleomingus’ own description of A Museum, as an adaptation of edited, mangled, contested short stories by a fictional Urdu writer, Mir Umar Hassan, eschews the linear narrative production of the colonial museum for a game of meanings, where the player enters rooms according to his choice and constructs his/her own “quiet game about prosaic objects and spurious histories.” ("A Museum" 2018) The paper would take this into account and examine the reconceptualization of the museum space with respect to James Clifford’s sense of museums being “contact zones”: A Museum’s lack of any curator, with its curious blend of colonial and native tales and banal objects defamiliarised by “spurious histories” lends itself to questions of playing the Empire back according to a different episteme, through subaltern histories that the colonial museum space silenced. Paying close attention to the question of postcolonial spatiality in this game, I will analyze the historiographical implications of these identity-scatterings and recuperations at constant play in the structure of the game. Keywords: Museum Studies, Thing Theory, Game studies, Marginal identity, Postcolonial Studies

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.

Transnational Korean Television: Cultural Storytelling and Digital Audience provides previously absent analyses of Korean TV dramas' transnational influences, peculiar production features, distribution, and consumption to enrich the contextual understanding of Korean TV's transcultural mobility. Even as academic discussions about the Korean Wave have heated up, Korean television studies from transnational viewpoints often lack in-depth analysis and overlook the recently extended flow of Korean television beyond Asia. This book illustrates the ecology of Korean television along with the Korean Wave for the past two decades in order to showcase Korean TV dramas' international mobility and its constant expansion with the different Western television and their audiences. Korean TV dramas' mobility in crossing borders has been seen in both transnational and transcultural flows, and the book opens up the potential to observe the constant flow of Korean television content in new places, peoples, manners, and platforms around the world. Scholars of media studies, communication, cultural studies, and Asian studies will find this book especially useful.

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.

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.

Police procedural has been historically perceived as a dominantly masculine genre for continually revolving around the investigations of male police officers. In accordance with the patriarchal norms that pervade Turkish society, local variations of the police procedural genre have conveniently appropriated this globally known convention and left little room for female detectives in their narratives. However, whenever they got a chance to be included in this male-dominated universe, female detectives have been frequently depicted as relatively independent women but also submitted to the traditional norms of womanhood in an ambivalent manner. This chapter examines this hesitant position of female police detectives in three contemporary Turkish police procedurals, Kanıt (The Evidence, 2010–2013), Cinayet (The Killing, 2014) and Sṃahsiyet (Personality, 2018), by building connections between the interest of police procedural genre in feminist debates in the global context and the influence of this interest on local variations.

This book develops a nuanced decolonial critique that calls for the decolonization of media and communication studies in Africa and the Global South. Last Moyo argues that the academic project in African Media Studies and other non-Western regions continues to be shaped by Western modernity’s histories of imperialism, colonialism, and the ideologies of Eurocentrism and neoliberalism. While Africa and the Global South dismantled the physical empire of colonialism after independence, the metaphysical empire of epistemic and academic colonialism is still intact and entrenched in the postcolonial university’s academic programmes like media and communication studies. To address these problems, Moyo argues for the development of a Southern theory that is not only premised on the decolonization imperative, but also informed by the cultures, geographies, and histories of the Global South. The author recasts media studies within a radical cultural and epistemic turn that locates future projects of theory building within a decolonial multiculturalism that is informed by trans-cultural and trans- epistemic dialogue between Southern and Northern epistemologies.

In this contribution, I provide an in-depth rhetorical and textual analysis of a television debate program broadcast in 2015 on the mainstream television news channel, Habertürk TV in Turkey. The debate brought together women committed to varying political projects, including Kemalism, Islamism, leftist movements, Kurdish women’s movements, and feminism. I find this debate program unique because it took place at a crucial moment in Turkey’s recent history, preceding increasing restrictions on the media that eventually cost more than half of the program participants’ jobs and positions. In my analysis, I focus on how the program’s moderator and the women participants define “women’s issues” in an increasingly authoritarian and conflictual political climate where women are divided with regard to supporting or opposing the Justice and Development Party’s (Adalet ve Kalkınma Partisi—AKP) political program. The results of my analysis show that “sisterhood” does not provide common ground for women in a politically polarized environment and women with more political power dominate the conservation.

This chapter unpacks the tension between secular, modern values and conservative, Islamic interpretations within the Indonesian middle class by taking the consumption of Turkish popular cultural products as a case. The chapter explicates the social responses towards the first Turkish television drama aired on terrestrial, private television in Indonesia: The Magnificent Century (Muhtesṃem Yüzyıl/Abad Kejayaan). This chapter understands the reproduction of secular and conservative Islamic values, while in contestation, as a response to broader global, market-capitalist developments. It finds that in response to audience criticism regarding the “un-Islamic” portrayal of the epoch in the drama—specifically the depiction of women as concubines—television stations enlisted the services of Muslim clerics to correct or justify the representation of historical facts. This reveals that market-driven self-censorship has opened up ways for Muslim clerics to influence television content. As such, the chapter argues that market-capitalist forces discursively use Islamic authority as a way to legitimise the halal consumption of Turkish drama among Indonesian Muslim audience at the expense of programme diversity.

This book examines the role of 24/7 television news channels in Bangladesh. By using a multi-sited ethnography of television news media, it showcases the socio-political undercurrents of media practices and the everydayness of TV news in Bangladesh. It discusses a wide gamut of issues such as news making; localised public sphere; audience reaction and viewing culture; impact of rumours and fake news; socio-political conditions; protest mobilization; newsroom politics and perspectives from the ground. An important intervention in the subject, this book will be useful to scholars and researchers of media studies, journalism and mass communication, anthropology, cultural studies, political sociology, political science, sociology, South Asian studies, as well as television professionals, journalists, civil society activists, and those interested in the study of Bangladesh.

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.

This chapter examines the social transformation of the television audience of rural Turkey. Villages near a metropolitan area, which were subject to an administrative decision to be relocated, were the focus of my fieldwork 30 years ago. Several visits between 1987 and 2019 to the same location, which is inhabited by television viewers and non-viewers alike, yielded an insightful mapping of engagement with popular culture via television at the periphery in Turkey from a historical perspective. While rural inhabitants are busy with daily labor in the countryside and are not keen on watching television, they are nonetheless aware of and connected to new, nationwide cultural trends and social changes. By reflexively discussing these experiences in ethnographic fieldwork on television habits and reception in rural Turkey over a 30-year span, I avoid the traps of modern-traditional and urban-rural binaries, allowing for an exploration of the role of television in mediating social change in the rural context and thus an analysis of the various complex layers and processes of mediatization among rural audiences.

"Surveying the latest Chinese TV shows centered on romantic relationships, this book joins the expanding body of literature on the ever-evolving structures of feelings while breaking new grounds in media studies. With its thorough investigation of a wide range of genres, narratives, and public discourses, the volume makes timely and significant contributions to the fields of media studies, China studies, and the cultural history of love and romance."--Hui Faye Xiao, University of Kansas, USA "What does romantic love mean for Chinese people today? How is love represented in popular Chinese television programs? Huike Wens fascinating and important book explores how romantic love promises young Chinese urbanites individual freedom, fulfillment, and purpose in life, yet also plays an ideological role in creating social cohesion and maintaining traditional patriarchal values in post-socialist China. An entertaining and thought-provoking insight into how love functions in contemporary Chinese society." --Hsu-Ming Teo, Macquarie University, Australia This book examines how representations of romantic love in Chinese television programs reflect the contradictions inherent to changing dominant values in post-socialist Chinese mainstream culture. These representations celebrate individual freedom, passion, and gender equality, and promise change based on individual diligence and talent, while simultaneously obstructing the fulfillment of these ideals. Huike Wen is an Associate Professor at Willamette University (Salem, Oregon). Her research focuses on the intersection of genders, emotions, media technology, and nations in transnational Chinese and East Asian media and culture.

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.