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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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Stuck between the political economy of the larger domestic television production industry and global market imperatives, I argue that Turkey’s TV industry executives and professionals had to develop and implement a number of tactics to achieve a locally based transnational cultural industry able to withstand both global and domestic pressures. In this chapter I identify three main tactics employed by Turkey’s TV industry executives and professionals to combat the socio-economic and political challenges they face: These tactics are: (1) carefully managing the content to skirt government restrictions; (2) adopting the government’s soft power discourse and public diplomacy aspirations by cooperating with government officials and businesses in their cultural promotion and nation-branding efforts; and (3) adapting to global TV trends by undertaking rigorous marketing and branding campaigns. A discussion of these tactics in the Turkish case can help us understand how culture industries in the developing world, which had to integrate into a neoliberal media environment after the 1980s due to market- and state-driven policies propelled mostly by US-based global media giants, negotiate being locally based transnational culture industries in the face of increasingly authoritarian and right-wing domestic political climates.
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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.
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