Carte des marchés internationaux de contenus audiovisuels (2013)

Travail en cours / dernière mise à jour le 18/03/2013
(en rouge les marchés de 2012 pas encore programmés pour 2013)


See International content markets on a bigger map

LISTE PAR ORDRE CHRONOLOGIQUE
(en italique et en rouge les marchés de 2012 pas encore programmés pour 2013)
  1. Brazil TV Forum (BTF) – 4-5/06/2012
    Centro de Convenções Frei Caneca Consolação, São Paulo, SP, Brazil

    http://forumbrasiltv.com.br
  2. Bogota Audiovisual Market (BAM) – 9-13/07/2012
    Bogota, Colombia

    http://www.bogotaudiovisualmarket.com
    .
  3. TIFFCOM – 23-25/10/2012
    Grand Pacific Le Daiba, Tokyo, Japan

    http://tiffcom.jp/2012/en/index.html
    .
  4. Ventana Sur – 30/11-03/12/2012
    Pontifical Catholic University of Argentina, Buenos Aires, Argentina
    http://www.ventanasur.gov.ar/eng/map.html
    .
  5. NATPE Miami – 28-30/01/2013
    Fontainebleau Resort Hotel, Miami, Florida, USA
    http://www.natpemarket.com/natpemarket/
    .
  6. World Content Market Prague (WCM) – 18-20/02/2013
    Hotel NH Prague, Czech Republic
    http://www.worldcontentmarket.com/prague/index.htm
    .
  7. Rio Contents Market (RCM) – 20-22/02/2013
    Windsor Barra Hotel, Rio, Brasil
    http://www.riocontentmarket.com.br/2013/
    .
  8. DISCOP West Asia – 5-7/03/2013
    Intercontinental Ceylan, Istanbul, Turquie
    http://discopwestasia.com
    .
  9. HKTDC Hong Kong International Film & TV Market (FILMART) – 18-21/03/2013
    Hong Kong Convention & Exhibition Centre
    http://www.hktdc.com/
    .
  10. NAB SHOW – 6-11/04/2013
    Las Vegas Convention Center, Las Vegas, Nevada, USA
    http://www.nabshow.com
    .
  11. MIPTV – 8-11/04/2013
    Palais des Festivals et des Congrès, Cannes, France
    http://www.miptv.com
    .
  12. Festival de Télévision de Monte-Carlo – 9-13/06/2013
    Grimaldi Forum Monaco
    http://www.tvfestival.com
    .
  13. Shangai TV Festival (STF) – 10-14/06/2013
    Shangai Exhibition Center, Shanghai, China
    http://www.stvf.com/
    .
  14. World Content Market Odessa (WCM) – 19-21/06/2013
    ОК ОДЕССА ГОТЕЛЬ, Odessa, Ukraine
    http://www.worldcontentmarket.com/odessa/index.htm
    .
  15. Istanbul TV Forum (ITVF) – 20-22/06/2013
    Haliç Kongre Merkezi, Turkey
    http://www.istanbultvforumfair.com
    .
  16. NATPE Budapest – 24-27/06/2013
    Hotel Sofitel Budapest Chain Bridge, Hungary
    http://natpebudapest.com
    .
  17. BCWW – 5-7/09/2013
    Intercontinental Seoul Coex, Seoul, South Korea
    http://www.bcww.kr/kor/main.asp
    .
  18. Kiev Media Week (KMW) – 10-13/09/2013
    Radisson Blu Hotel, Kiev, Ukraine
    http://kievmediaweek.com/en/kmw/2013/
    .
  19. MIPCOM – 8-11/10/2013
    Palais des Festivals et des Congrès, Cannes, France
    http://www.mipcom.com/
    .
  20. DISCOP Africa – 6-8/11/2013
    Sandton Convention Centre, Johannesburg, South Africa
    http://discopafrica.com
    .
  21. American Film Market (AFM) – 6-13/11/2013
    Loews Santa Monica Beach Hotel, Santa Monica, California, USA
    http://www.americanfilmmarket.com
    .
  22. My Content (MC) – 18-19/11/2013
    World Trade Center, Dubai
    http://mycontent.ae/
    .
  23. World Content Market Venice (WCM) 25-27/11/2013
    Hotel Monaco & Grand Canal San Marco, Venice, Italy
    http://www.worldcontentmarket.com/venice/index.htm
    .
  24. Asian TV Forum (ATF) – 3-6/12/2013
    Sands Expo and Convention Center, Marina Bay Sands, Singapore
    http://www.asiatvforum.com 
    .
  25. European Film Market (EFM) – 7-15/02/2013
    Martin-Gropius-Bau, Berlin, Germany
    http://www.efm-berlinale.de
    .
  26. Cozumel Content Market (CCM) – ../../2013
    Hotel Park Royal, Cozumel, Mexico
    http://cozumelcontentmarket.com/

Quelques perles du cinéma turc des années 50′-70’…

Erol Amaç est M. Spak (à ne pas confondre avec M.Spock, qui lui porte un sous-pull bleu). Source : Monster movie music

Voici quelques extraits – pour rire mais aussi pour déplacer un peu le regard qu’on porte habituellement sur le cinéma – d’adaptations turques de franchises américaines des années 70 et 80…

Celles qui m’intéressent le plus directement sont avant tout les adaptations de séries de cette époque telles que Star Trek “alla turca” ou “Betmen”, mais on ne peut s’empêcher se savourer d’autres adaptations locales pour le cinéma : “Supermen”, “Badi” (la version turque de E.T.), le magicien d’Oz turc, “Frankeştayn”, Drakula à Istanbul, le Zorro turc… et bien sûr l’inénarrable “Turkish Star Wars”, connu également sous son nom original de “Dünyayi Kurtaran Adam” (l’homme qui a sauvé le monde). “Nanarland“, qu’on peut saluer pour ses leçons de cinéma et son érudition particulière dans le genre “série Z” a d’ailleurs consacré une émission à ce film. Une attention particulière est à porter aux bandes sons, on peut reconnaître des emprunts parfois étranges, voire hors propos.

Voir aussi quelques pages et groupes où assouvir sa nostalgie ou sa curiosité de bizarreries datées :

Groupe Facebook “Eski Yerli Diziler ve Filmler” :
https://www.facebook.com/EskiDiziler?fref=ts

Emission “Escale à Nanarland” :
http://www.allocine.fr/video/nanarland/

Le site de Nanarland, “le site des mauvais films sympathiques” :
http://www.nanarland.com

 

Les acteurs de “Turist Ömer Uzay Yolu’nda” sur la place Taksim. Source : Facebook (Rauf Kösemen)

Source : Nanarland

Liens : sites sur les “dizi” et leurs audiences

Sites des chaînes / rubrique dizi

Extraits/épisodes Dizi :

Audiences TV Turquie : 

Reports : Istanbul Ticaret Odası

ITO

SOME QUOTES FROM ISTANBUL CHAMBER OF COMMERCE REPORT

P.97 :

“[…] the sector of TV dramas and series is the driving force for some televisions broadcasting in domestic market. However, the importance of this sector is not limited to the television broadcasting. TV series production produce very important consequences for Turkey’s economic, social and cultural life in terms of value chain and labour force. One of these consequences is related to its interaction with the movie industry. These two sectors based on the same creative forces and the same labour and capital market develop side by side : involvement of experienced people of the movie sector in TV series enhances the quality of TV series ; moreover as stated by the people in the movie sector young people gain experience in TV series and then enter the movie sector with better qualification.”

Reports : TESEV

SOME QUOTES FROM SEVERAL TESEV REPORTS :

Media Content: The Regulatory Framework and Court Decisions (p.35)

“Article 25 of the constitution guarantees freedom of expression and protects individuals from state interference on expression of their opinions. Article 28 protects freedom of the press and imposes on the state a positive obligation to undertake the requisite measures to ensure the exercise of this freedom. The constitution guarantees the right to declare or disseminate opinions individually or collectively and to access and share information and opinions without state interference.

What lies beyond this liberal façade, however, is a framework where nationalism, statism and cultural conservatism emerge as the supreme values looming over individual rights. The exercise of fundamental freedoms is subject to compliance with; inter alia, national security, national unity and state secrets.

The constitution entrusts the state with the duty to make sure that citizens act and think in accordance with the ideals of Atatürk, the values of the nation and the morals of the family. Article 41 identifies the family as the ‘foundation of the Turkish society’ and tasks the state with taking measures to protect ‘the peace and welfare of the family’ and to protect children against all kinds of abuse and violence. Article 58 allots the

duty to protect the youth against abuse, exploitation and ‘bad habits’ such as alcoholism, drugs and gambling to the state, and as well as the responsibility to raise young people in accordance ‘the principles and revolutions of Atatürk.’ Making note of this ‘state- centrist approach,’ the Council of Europe (CoE) Commissioner for Human Rights pointed out the pervasive recognition ‘that the letter and spirit of the present Turkish Constitution represent a major obstacle to the effective protection of pluralism and freedom of expression’ (Hammarberg, 2011: para. 11).” […]

Executive Summary

Media policy in Turkey has shaped the media-state relationship since the establishment of the first newspaper in the late Ottoman period. While regulations were often employed as an effective disciplinary tool against the press in processes of state formation and modernization, opponent journalists have constantly been suppressed by state and non-state actors who claimed to act in the name of ‘state interests’.

The coup d’état in 1980 and the concomitant economic liberalisation changed the ownership structure of the media sector with the entry of new investors. Following the abolishment of state monopoly on broadcasting in the 1990s, big conglomerates expanding through vertical and horizontal mergers have dominated all fields of the media. The high concentrated market structure in the media was made possible due to the inadequacy of legal barriers to cross- mergers, as well as the lack of measures that would prevent media conglomerates from participating in public tenders in other sectors of the economy. The shortcomings of the regulatory framework to promote press freedom and diversity in the media has encouraged big corporations to regard themselves as legitimate political actors that can bargain with the government.

Media ownership was restructured following the economic crisis in 2001. Big media groups, which had investments in the financial and banking sectors, were particularly affected by the crisis; some being completely wiped out of the market, while others were seized by the state. Shortly after the Justice and Development Party (Adalet ve Kalkınma Partisi- AK Parti) came to power in 2002, the mainstream media was reconfigured ideologically as either ‘opponent’ or ‘proponent’ to the government.

Notwithstanding the limited positive effects of the EU accession process on media freedom, there are dozens of ECtHR judgments regarding freedom of expression and freedom of the press waiting to be executed by the Turkish state. Journalists who are powerless vis-à-vis the owners and political power are particularly affected by the political polarisation in the media. The structural obstacles to unionization and the lack of solidarity in the profession lead to labour exploitation, low quality content and violations of media ethics.

The lack of a strong pro-democracy social movement; the ideological conservatism of the judiciary; the institutional weakness of the parliament; and the lack of democracy within political parties render the government – and future governments – too powerful vis-à-vis the society and the media. On a positive note, however, there is a growing awareness on the need for social monitoring of the media. In the absence of a widely accepted and established self- regulatory framework, various non-governmental organizations and activist groups started to watch the media in order to expand the culture of diversity and to reduce discrimination, racism and hate speech.

Culture: (p.15-16)

“In recent years, Turkey has not just become more politically and economically active in the Middle East but culturally as well. The popularity of Turkish television series and holidaying in Turkey has become far more apparent. Thus the 2010 survey included questions about television and holidaying to understand this phenomenon.

Turkey as a destination has become more popular. Between 2007 and 2009, the number of tourists arriving from the surveyed countries increased from between 25% to 55% depending on the country.

Since 2009, Turkey has lifted visa requirements with Jordan, Lebanon, and Syria in both directions as well as for Saudi Arabian citizens. Indeed, comparing the number of tourists arriving from these four countries in the month of July 2010 to July 2009 reveals the impact of this policy: there was a 32% increase in the number of tourists from Jordan, an 88% increase from Lebanon, a 133% increase from Syria and a 59% increase from Saudi Arabia.

The results show that respondents saw Turkey as the most popular Middle Eastern destination. Indeed, Turkey was the most popular destination in Lebanon (51%), Iran (50%), Syria (43%), Jordan (41%), Palestine (41%) and Saudi Arabia (26%). Turkey’s nearest rival, Saudi Arabia, was the most popular destination amongst Egyptians only (32%). When asked about holidaying outside the region, France was the most popular destination but Turkey was the second most popular alongside Germany with 9%.

Turkish television series, dubbed in Arabic, are contributing to the visibililty of the country in the Middle East. Today the volume of these exports to the region is around $50 million per annum.

Indeed, television series have become an important part of Turkey’s soft power; the number of people who watch Turkish TV series in the region is very substantial and this has the potential to have a lasting effect on Turkey’s image. The survey results confirm this popularity: 78% of respondents had watched a Turkish TV series. The number of viewers was particularly high in Syria (85%) and Iraq (89%). Indeed, it’s not just the series themselves but Turkish celebrities that are popular in the Middle East: respondents could name no fewer than 15 Turkish TV series and 15 celebrities. Knowledge of Turkey’s television series and celebrities was particularly noteworthy in Iraq.”

 Television Broadcasting: (p.51-52)

“According to data from the Radio Television Supreme Council, there are currently 24 national, 15 regional and 209 local television enterprises on air. The categorization as national, regional and local broadcasting was done in consideration of RTÜK’s terrestrial broadcasting frequencies plan and the licenses granted under said plan. Yet, the developing technology and the widespread usage of satellite receiver systems continue to blur the distinction between local, regional and national broadcasting. For example, a television enterprise established in and broadcasting from the Black Sea region can have its broadcasts reach the national and even international audiences through satellite. Hence, although it may have a local broadcasting licence, it is not possible to regard such a television station as a local broadcaster. Even this change only demonstrates the need for more research and more discussion on the area of local broadcasting in Turkey.

On the other hand, in all of these scales, television is the media channel that has the highest access rate: it reaches more than 98% of those living in Turkey.The daily average spent watching television is 3 hours, going up to 7 hours for stay at housewifes. Cable TV broadcasting services are available in 21 cities, with approximately 1 million 275 thousand subscribers. Türksat A.Ş, the cable company that broadcasts public and private television enterprises, belongs to the state and is a monopoly. The company provides both infrastructure and broadcasting services; hence it also determines the channels that can broadcast on cable. A new draft regulation on the privatization of this service has been submitted to the public by RTÜK. The effective date of the regulation is as yet unknown.

Additionally, there are also two digital broadcasting platforms in the television broadcasting sector, one belonging to the Çukurova Group (Digiturk), and the other to the Doğan Group (D-Smart). DIGITURK has approximately 2 million 200 thousand subscribers, while D-Smart has 1 million 200 thousand subscribers.”

 Print & broadcast medias : (p.30-31)

“The media sector in Turkey is divided into aggregations. The biggest eight of the 15 media groups are Albayrak, Doğan, Çukurova,Ciner, Çalık, Feza, Doğuş and İhlas Groups. All major private television and radio stations, newspapers and periodicals belong to these groups. The Doğan Media Group and Merkez Group also have a monopoly over the distribution of the print media through Yay-Sat and MDP, respectively.

Established in 1980, Doğan Media Group is the largest media holding company in Turkey. The group has eight dailies: Hürriyet, Milliyet, Radikal, Posta, Vatan, Fanatik, Referans and Hürriyet Daily News. Hürriyet and Milliyet have a nationalist and statist position while Radikal has a social-democrat point of view. Posta is a tabloid newspaper and Referans was a financial newspaper that has recently been merged with Radikal. Doğan Media Group also owns the national TV channels Kanal D, Star and CNN Turk and radio channels Radio D, Slow Turk Radio and Radio Moda. The group also owns a digital platform called D-Smart, which includes many thematic and pay-per-view channels. Moreover, the group provides access for all TV channels on Türksat satellite. It has a stake in the cinema and advertising industries through D Productions. Channel Romania D is another investment of the group in Romania. The group also includes Doğan Burda Rizzoli (DBR), a joint venture with the German publishing house Burda and the Italian media corporation Rizzoli. Doğan runs its own news agency, DHA, publishing house, Doğan Kitap, and merchandising company, D&R. […]

Doğuş Media Group was founded in 1999. Its first channel was the news channel, NTV. In addition, the group collaborates with international brands such as CNBC, NBA, Billboard, Virgin, and National Geographic.

The Albayrak Group was established in 1952. Until 1982, it was active only in the construction sector. The group began publishing the daily Yeni Şafak in 1995. Having liberal and left-wing columnists who do not belong to the Islamic community the paper has emerged from, Yeni Şafak “offers a relatively broader perspective especially about the controversial issues.” Since 2007 it has been running TVNET, a news channel.

Ciner Holding was an active company in the automotive and energy sectors under the name of Park Holding. In 2002, the company entered the media sector. In September 2007 Ciner Publishing Holding was founded; it currently owns Habertürk.com, Habertürk Radyo, Habertürk TV, Ajans Habertürk and Gazete Habertürk. The company holds international TV and radio channels such as Bloomberg TV and Bloomberg HT Radyo. The Turkish language editions of Marie Claire and Maison, belong to Ciner Group as does the recently closed Newsweek, FHM, Food and Travel, GEO, and Mother and Baby.

Çukurova Holding currently publishes the Akşam, Güneş, Tercüman newspapers and Alem magazine and owns the Show and Sky Turk TV stations. Turkcell, the leader in the GSM industry, as well as Digiturk, which broadcasts the national football league matches, also belong to this group.

The Turkuvaz Group belongs to Çalık Holding. In December 2007 the group bought the Merkez Medya Group from Ciner Holding and became the proprietors of the newspapers Yeni Asır (Izmir), Sabah, Takvim, Günaydın and Pas Fotomac, the weeklies Bebeğim ve Biz, Sinema, Home Art, Yeni Aktuel and Gobal Enerji, as well as the television station ATV. […]”

Turkey’s Image in the Arab World”written by Carnegie Middle East Center Director Paul Salem draws upon the survey to look at how Turkey is and should be responding to recent events in the region.

(p.6-7)
“[…]Questions 20 and 21 indicate the influence of soft power. A full 78% of respondents in the Arab world and Iran report that they have watched Turkish soap operas. Indeed these TV programs have taken the region by storm, with Turkish TV stars becoming pop idols among young and old, men and women. The impact of watching hours of these Turkish soap operas cannot be underestimated as they have the effect of creating attachment, understanding, and affection for Turkish identity, culture, and values among wide regional publics. Like Egyptian TV and cinema created a prominent cultural place for Egypt in previous decades, Turkish television has made similar inroads in Arab (and Iranian) popular culture. This has been complemented by a wave of tourism to Turkey in which Arabs and Iranians from various classes and walks of life have visited Turkey and become familiar and attached to its towns and cities, history and monuments, culture and people. Turkey is identified in the survey as the most popular tourist destination (35% put it as their first choice; followed by 19% for Saudi Arabia; and 13% for Lebanon.)[…]”

Challenges to Turkey’s Soft Power in the Middle East”written by the Dean of Graduate School of Sciences in METU Meliha Benli Altunışık questions how Turkey exercises its soft power in the Middle East, an issue that has become all the more relevant as a result of the Arab Spring.

Turkey’s attractiveness : (p.2)
” […] Finally, in recent years Turkey has become a source of attraction because of its cultural products. Since 2004 Turkish TV series have become quite popular in the Arab world. 78 percent of the respondents said yes to the question of whether they have ever watched a Turkish TV series in the TESEV poll. The popularity of these series has led to an increase in the numbers of visitors to Turkey from the Arab countries. The increase in human-tohuman interaction has facilitated learning from each other and started to shape images of the “other” in more positive ways.[…]”

 

“Interest in Turkish series boosts enthusiasm for Turkish novels” – Hürriyet Daily News

“Turkey might be a society that watches far more than it reads, but the popularity of certain TV shows has nonetheless increased interest in books, Federation of Professional Publishers Associations (YAYFED) Chairman Bayram Murat has said.

“When some of the Turkish series break ratings records, the novels that inspired the scenarios of the series also break sales records,” he said during a press conference organized by the Antalya Journalists Association to discuss the TÜYAP Antalya Book Fair, which will be organized from Feb. 13 to 17.” […]

Speaking previously about the links between Turkish soap operas and the country’s literature, Nilüfer Narlı, a sociologist at Bahçeşehir University, said Turkey had increased its “soft power” in the Middle East and Balkan countries through such shows, the Hürriyet Daily News reported.

“As the circulation of soap operas in the international arena has increased, learning Turkish language and culture have become very important in the Arab and Balkan countries. This is what we call ‘soft power’ within the context of the culture industry,” she said.

Source : Hürriyet Daily News

“Trafik kurallarını en çok onlar ihlal etti!” – Radikal

İşler Güçler. Source : Radikal

“Emniyet Genel Müdürlüğü, dizilerdeki sahnelerde, seyir halindeyken cep telefonu ile konuşma ve emniyet kemeri kullanma oranları konusunda bir araştırma yaptı. Kurallara uyma konusunda ‘İşler Güçler’ ve ‘Yalan Dünya’ dizileri üst sıralarda yer aldı.

Emniyet Genel Müdürlüğü , yedi ulusal kanalda 1 Ocak-31 Ocak 2013 tarihleri arasında yayımlanan tüm dizilerdeki sahnelerde, seyir halindeyken cep telefonu ile konuşma ve emniyet kemeri kullanma oranları konusunda bir araştırma gerçekleştirdi. Kurallara uyma konusunda ‘İşler Güçler’ ve ‘Yalan Dünya’ dizileri üst sıralarda yer aldı.

Araştırmada, ‘İşler Güçler’deki 8 sahnenin 8’inde, ‘Yalan Dünya’daki 5 sahnenin 5’inde, ‘Alemin Kralı’ndaki 2 sahnenin 2’sinde emniyet kemeri takılarak kurallara uyma oranı yüzde 100 olarak belirlendi. Yüzde 85.7’lik emniyet kemeri takma oranıyla ‘Zengin Kız Fakir Oğlan’ı; yüzde 83.3’lük oranla ‘Krem’ dizisi takip ederken, ‘Sakarya Fırat’ dizisinde 9 sahnenin, ‘ Öyle Bir Geçer Zaman Ki ’ dizisinde 6 sahnenin hiç birinde, ‘Bitmeyen Hikâye’ dizisinde 4 sahnenin, ‘Seksenler’ dizisinin ise iki sahnenin hiç birinde emniyet kemeri katılmadığı belirlendi.

Cep telefonu kuralına uyma konusunda ise en üst sırayı ‘Deniz Yıldızı’, ‘Lale Devri’, ‘İşler Güçler’, ‘Kayıp Şehir’, ‘Yalan Dünya’ ve ‘İntikam’ aldı. ‘Arka Sokaklar’, ‘Yer Gök Aşk’, ‘Küçük Kıyamet’, ‘20 Dakika’, ‘Kurtlar Vadisi Pusu’, ‘ Huzur Sokağı ’, ‘Bitmeyen Hikâye’, ‘Benim İçin Üzülme’, ‘Zengin Kız Fakir Oğlan’, ‘Merhaba Hayat’, ‘İki Dünya Arası’, ‘Dila Hanım’, ‘Alev Alev’ dizileri ise cep telefonu kuralına uyma konusunda sınıfta kaldı.”

Source : Radikal

“‘Muhteşem Yüzyıl’, tarih ve bugün ” – Radikal

“‘Muhteşem Yüzyıl’ı izlerken esas üzerinde durulması gereken, onun tarihimizi ne kadar doğru aktardığı değil, bugünkü hayatımıza ne ölçüde ayna tutup tutmadığı olmalı. 

Tarihin, daha doğrusu tarihyazımının çoğu zaman, özellikle de politik-ideolojik stratejiler eşliğinde geçmişi bugüne taşımaktan çok bugünden hareketle bir geçmiş kurduğu, ‘vakıa’dır. ‘Bugün’ değiştiğinde tarih de değişir ve her yeni kuşakta yeniden yazılır. John Dewey’in çarpıcı kaydıyla, “Yeni bir ‘bugün’ doğduğunda ‘geçmiş’ de artık başka ve farklı bir bugünün geçmişi”dir. O yüzden karşımıza her ne şekilde gelirse gelsin, ‘tarih’ denilen metinsel ürünün içinde biz geçmiş kadar, satır aralarında, fısıltı halinde bugünü buluruz. Dolayısıyla tarih, geçmişe dair ama bugüne ait bir söylemsel pratiktir.

Bunları ‘Muhteşem Yüzyıl’ ve bu dizi dolayımıyla Kanuni ‘gerçeği’ üzerine hanidir sürdürülen sert tartışmaların etkisiyle yazıyorum. İddia malûm; dizide ecdadımız yanlış tanıtılıyor… Yukarıda belirtilenler paralelinde diyebiliriz ki ecdadımızın doğrusunun ne olduğu anlayış meselesidir ve ‘zamanın ruhu’na göre değişebilir. Kıymetli tarihçi Salih Özbaran’ın yıllar önce vurguladığı üzere “geçmiş değişmese de bizim geçmişi algılama, kabullenme, yönlendirme niyetlerimiz sürekli değişiyor” olduğu için, hayat aktıkça ‘ecdad’a ilişkin ‘doğru’nun çoğulluğunun kaçınılmaz olacağını hatırda tutmak gerekir. ” […]

Yazar : Tayfun Atay
Source : Radikal

“Crisis and Turkish serials hit Greek stage ” – Hürriyet

“For the wider Greek public he was Achilleas Lambrou, the insolent, intelligent, leftist corporal in the 1984 film “Lufa ke Parallagi” (Escape Duty and Camouflage), one of the best anti-militarist comedies in Greek cinema. The film satirizes the difficult years of the Greek junta (1967-74) through the hilarious experiences of a group of soldiers doing their military duty in the newly founded TV channel of the Greek Armed Forces. For others, he was once the husband of a leftist heroine of student resistance during the same period, who is presently serving in the European Parliament. But for theater lovers, Yorgos Kimoulis – now in his late fifties – has been one of the most talented actors of his generation, outspoken to the degree of arrogance and admirably capable of defending his leftist views against anyone who would call him an anti-capitalist “utopist.” […]

The news about Kimoulis broke out almost the same time as a similar story hit headlines: another charismatic actor of the same generation with a similar background in theater and TV, Costas Arzoglou, confessed that he may lose his home – the bank had already sent him the date of the confiscation order – as he cannot afford to pay the installments of his mortgage. Like many theater actors, he was financing his theater work by working on TV serials. These are now being rolled over by cheaper Turkish productions and on top of that, he has not been paid for three years of work at one of the biggest channels. “They can take all except my talent,” he says. Only two weeks ago, another actor in his forties, who had made his name mainly from TV serials, committed suicide as he could not cope with financial difficulties.[…]

The statistics tell a dramatic story. Out of the 4,000 registered actors in Greece, almost 80 percent (some claim more than 90 percent) are now unemployed or partially employed with minimal or no salary. About 250 actors work in state theaters and about 1,000 in the 200 or so theater troupes. And of course, this is work per season.

The drastic cuts provided by the austerity packages on Greece imposed by the “troika” of Greece’s creditors hit the state central and regional theaters, which saw a dramatic reduction of their subsidies. The ones that did not close have to choose plays with smaller casts in order to cope with the costs.

Cheaper Turkish serials and low advertising revenue in the TV sector closed the door on Greek actors who thus lost their main source of income. A new type of actor has been born, the one who is willing to participate in any performance without payment, just to remain in touch with the sector.

Nobody knows how long the austerity period will last in Greece. People are just trying to cope with their immediate needs and commitments. So do the actors, as they try to keep themselves linked with the stage. But still, there is a good side to this. The blow that hit the Greek theater as we knew it up to now has left the door open to new, young talents who have entered the stage determined to show their skills.”

Source : Hürriyet

“TRT mirrors history of Turkey’s broadcasting at a new museum” – Hürriyet Daily News

AA Photo. Source : Hürriyet

“A newly opened museum in Ankara reveals the history of Turkish broadcasting. The facility, opened by state-owned television TRT, displays all materials relating to broadcasting from Turkey’s past, and functions as a repository of the country’s heritage

Turkey’s state-owned television TRT is displaying its long sojourn in broadcasting for the first time with a new museum in Ankara.

The Museum of Broadcasting History TRT in the country’s capital displays old microphones, current virtual studios, outfits from the past, cars driven by the founder of the Turkish Republic, Mustafa Kemal Atatürk, as well as many materials used in radio programs and television series.

The museum, which was made possible by the labor of more than 200 workers and four years of work, was recently opened with a visit by President Abdullah Gül.

Through documents that have acquired great pertinence throughout Turkey’s history, the museum depicts the transition from radio to television in a step-by-step fashion.

The entrance welcomes visitors with film-mounting machines, the microphone through which Atatürk made his 10th-anniverary speech (10. Yıl Nutku), hand-made voice recording machines, as well as posters. In the same area, which takes visitors on a journey through history, visitors can also watch programs from previous years on monitors. […]

The museum is also home to a drama studio, a television studio, television exhibit hall, animation section, education hall and a corner for children. The lower floor of the museum displays more than 50,000 dresses and accessories worn by the leading stars of actors and actresses of historical productions such as “Yaprak Dökümü” (The Fall of Leaves), “Aşk-ı Memnu” (Forbidden Love). […]

 Source : Hürriyet

“Televizyon dizileri boşanmada etken” – Radikal

Source : Radikal

“‘Çiftler boşanmayı dizilerdeki gibi kolay ve basit olarak görüp evliliklerini bitirebiliyorlar’

Çorum’da 2012 yılında bin 656 çiftin evlenirken, 640 çift ise boşandı. Çorum Barosu avukatlarından Derya Öztekin, televizyon dizilerinde çiftlerin çok kolay boşanmaya karar verip evliliklerini sonlandırdıklarını belirterek, “Bu durum dizileri seyreden çiftleri etkileyebiliyor. Çiftler boşanmayı dizilerdeki gibi kolay ve basit olarak görüp evliliklerini bitirebiliyorlar” dedi.

Çorum Barosu avukatları Aile Mahkemesi’nde görülen boşanma davalarıyla ilgili değerlendirmelerde bulundu. Kentte 2012 yılında bin 656 çiftin evlenirken 640 çiftin de boşandığı belirtildi. Avukat Derya Öztekin, çiftlerin boşanmalarında bir çok neden bulunduğu dile getirerek “Boşanmalara bakıldığında genellikle ekonomik sorunların ön plana çıktığını görüyoruz. Ancak sosyolojik olarak bakıldığında, ahlaki zafiyetlerin de bu sona neden olduğu sonucu ortaya çıkıyor. Çiftler birbirlerini anlamak yerine, aileyi bir bütün olarak görmek yerine, parçalanmayı tercih ediyor. Boşanmaların altında yatan nedenler arasında televizyon dizileri de geliyor. Bazı dizilerde yaşananlar insanları özentiye sürüklüyor. Yani ailelerin temel taşlarının oynamasına öncülük ediyor diyebilirim. Dizilerde çiftler çok kolay boşanma kararı alıp uyguluyor. Bu durum dizileri seyreden çiftleri etkileyebiliyor. Çiftler boşanmayı dizilerdeki gibi kolay ve basit olarak görüp evliliklerini bitirebiliyorlar” diye konuştu.

Avukat Rıdvan Çam da kendisinin de boşanma davalarına baktığını belirterek çiftlerin birbirlerine karşı tahammül, sabır ve anlayışlarının olmayışının evliliklerin sonlanmasına etki ettiğini belirtti. (DHA)”

Source : Radikal

“Turkish dramas receive tourism awards” – Hürriyet Daily News

Culture and Tourism Minister Ertuğrul Günay pose with the producers and actors of some popular Turkish TV dramas at the ceremony. AA photo. Source : Hürriyet

“Producers and actors of Turkey’s popular TV dramas were presented with plaques at a ceremony due to their great contributions to Turish tourism

The producers and actors of Turkish TV dramas, which receive international acclaim and are important in encouraging tourism in the country, were presented plaques recognizing their contributions to Turkey’s promotion at a ceremony held by the Tourist Hotel and Investors Association (TUROB).

In a speech during the ceremony, Culture Minister Ertuğrul Günay, praised those in the sectors of tourism and culture for objectively highlighting the beauty, richness and even the problems of the country to the world. He noted that in 2011 Turkey hosted the sixth-highest number of tourists holding foreign passports, surpassing Britain.

“In 2012, despite problems at our southern borders, we hosted some 32 million foreign tourists. Turkey gets nearly $25 billion in income from tourism. All people in the sector try to promote the country to the world but the most effective promotion is that of culture and arts. As a result of these efforts, the Turkish Culture and Tourism Ministry was chosen as the best tourism organization in Europe last year in Portugal. This is the result of our synergy.”

Günay said the ministry has aimed to support Turkish cinema in recent years, adding that they are preparing to develop a new cinema law. “TV dramas promote Turkey around the world on their own accord. I learned the names of many dramas and their actors while abroad over the years. I heard their names abroad for the first time and wondered about them. Many of my friends abroad joke that they organize their meetings and travels according to our TV dramas. They ask me ‘Is Turkey really so beautiful?’,” he said.

While the state had spent about 5 million Turkish Liras on cinema between 1990 and 2005, he said they have stepped up support to cinema since 2006 as in light of its prominence and influence.

“We have given some 110 million liras of support since 2006. We are working on a new cinema law. I will present it to the Council of Ministers in the coming meetings. We are trying to secure the rights of TV series actors. Once this law is made, we will have a more civilized cinema law.” […]

Popularity of Turkish dramas abroad

TUROB Chairman Timur Bayındır said that Turkish TV dramas are world-class quality and they are proud to see Turkish dramas aired on prime time abroad. “These dramas promote Turkey to millions of foreigners.”

Turkish actor Halit Ergenç, an actor in one of the most popular Turkish TV drama abroad, “Muhteşem Yüzyıl” (The Magnificent Century) as the Ottoman sultan Süleyman the Magnificent, spoke of the criticisms the drama has received. “If a project is good, it can face such attacks.”

He said the popularity of Turkish TV dramas, particularly in the Middle East, was a source of pride. “We did not estimate that our international success would reach this point. Neighboring countries are closely following us. It is very pleasant that Arabs watch us, too.”

Following the speeches, the actors and producers of TV dramas including “Muhteşem Yüzyıl,” “Kurtlar Vadisi” (Valley of the Wolves), “Ezel,” “Suskunlar” (The Silent), “Binbir Gece” (A Thousand and One Nights), “Öyle Bir Geçer Zaman ki” (Time Goes By) and “Yalan Dünya” (World of Lies), received their plaques.

Source : Hürriyet

“‘Medyatik eğlence’nin tazelenme ihtiyacı ” – Radikal

Arzuhan Doğan Yalçındağ. Source : Radikal

“Doğan TV Holding’in düzenlediği ‘Yarının Medya, Eğlence ve Show Dünyası’ temalı FRESH MESH konferansı, ‘dijital kültür’ karşısında sektörün yenilenmesinin kaçınılmazlaştığını işaret eden bir girişim.

Eğlence bir ihtiyaç. İnsanlar, hayatta kalma yolunda temel gereksinimlerini zorlanmadan karşılayabilir, böylece kendilerine daha çok zaman ayırabilir hale geldikçe eğlence insan yaşamının ayrılmaz bir parçası oldu. Dolayısıyla ‘eğlencenin tarihi’nden de söz edebiliriz. Bu tarihe ‘üretim-tüketim’ faktörleri üzerinden bakınca, kabaca üç evre ayırt edilebilir. İlkin eğlence, insanların aktif katılım içinde kendilerince üretip tükettikleri ‘toplumsal’ bir etkinlikti. Kırsal, tarımsal, folk kültür aşamasına denk gelen bu uzun dönem boyunca insanlar daha çok kendileri oynayıp kendileri eğlendi.

Modern-endüstriyel kent yaşamında eğlence, hayatın her alanı gibi ‘endüstriyelleşti’. Bir eğlence endüstrisi, sektörü, piyasası çıktı ortaya. İnsanlar artık kendileri eğlence üretmekten çıkıp onlar için eğlence üreten bir sistemin içinde pasif tüketici konumuna gerilediler. Hele ki elektronik devrimi ve teknolojisi temelinde şekillenen ‘kitle iletişimi’ aracılığıyla iş alabildiğine seyirlik hâl aldı. Oynayıp eğlenen insan, seyredip eğlenen insana dönüştü.”[…]

Söz konusu dönüşümün yıllardır ‘kitle’ye tek mecradan ve tek-yönlü iletim bombardımanı (‘broadcasting’ diyelim) yapan bir sektör açısından ‘her şeyi yeniden düşünme’yi gerektirecek bir etki yapması, buna bağlı olarak yeni arayış, yönelim, strateji ve uygulamaların peşine düşülmesi hem beklendik hem de anlaşılır bir durum. Tıpkı Doğan TV Holding tarafından tasarlanıp organize edilen, bugün ve yarın gerçekleştirilecek ‘FRESH MESH’ başlıklı etkileşimsel konferans gibi…

Medya, eğlence ve ‘show’ dünyasını (‘MESH’in açılımı bu) yeni-taze (‘FRESH’ de bu) fikirler üretme yolunda bir beyin fırtınasına davet eden etkinlik, sektörün hemen her kulvarından (medya holding başkanları, kanal yöneticileri, ‘ceo’lar, program yapımcıları, yönetmenler, sunucular, vd.) yerli-yabancı pek çok ismi bir araya getiriyor. Etkinliği ayrıntılı olarak tanıtan hacimli bir metin, net’te mevcut (http://www.freshmesh.com.tr/). Metni böyle bir etkinliğe neden ihtiyaç duyulmuş sorusuna yanıt bulmak için okuduğunuzda bunun, yukarıda vurgulanan yeni aşamada yani ‘dijital devrim’le eğlencenin tekrar ‘toplumsal’ (daha doğrusu ‘siber-toplumsal’) mecraya girmesiyle birlikte sektör açısından belirginleşen ‘sorun’la başa çıkma çabası olduğunu fark ediyorsunuz. Tabii metnin içinde ‘sorun’ sözcüğü hiçbir yerde geçmiyor, ama sözcüğün metne içkin olduğunu düşünmek mümkün. Ve anlıyoruz ki sektör, ‘normal’de alışık olduğu tüketiciyi artık karşısında bulamamaktan muzdarip. O yüzden de bir ‘yeni normal’ belirleyerek şu kaydı düşüyor: 

“Teknolojik ve dijital dönüşümün etkileri artık MESH dünyasının yeni normalinde yerini aldı ve şimdi pazardaki eğilimleri belirleyen iki etken yeniden tanımlanıyor; birincisi, davranışları daha fazla sosyalleşme, paylaşma ve bağlantı kurma motivasyonu ile değişen günümüzün yeni nesil tüketicileri; ikincisi ise bu değişimi geçirmiş tüketicilere ulaşmaya çalışan endüstri.”[…]

Yazar : Tayfun Atay
Source : Radikal 

 

“Dizi rotasyonunda söz Kanal D’de” – Radikal

Source : Radikal

“Kanal D Genel Yayın Yönetmeni Pelin Diştaş: ‘Eğitim seviyesi düştükçe seyirci daha siyah-beyaz bakıyor ekrana. Ortalama seyirci sadece ‘merak’ı satın alıyor.’

Dünkü yazıda Kanal D’de gün-saat bazındaki ‘dizi rotasyonu’ üzerine bir değerlendirme yaptık. Bu amaçla konuştuğum kanalın kurumsal iletişim biriminden Ömer Koçak görüşmemizi uygulamadan sorumlu isimlere aktarmış. Yazıyı baskı için gazeteye gönderirken Kurumsal İletişim Direktörü Özlem Asmaz arayarak ne olup bittiğine dair daha doyurucu açıklamalar sundu. Sonra da kanalın Genel Yayın Yönetmeni Pelin Diştaş’la konuştuk.

Söylenenler özde şu önemli noktada merkezileşiyor: Kanalın uygulaması, Türkiye’de reyting ölçüm sistemindeki ‘radikal’ değişiklikle bağlantılı olarak seyircinin niceliksel ve niteliksel dönüşümü bağlamında kaçınılmazlaşan bir arayışın sonucu. Söz konusu gün-saat oynamaları için Asmaz, “Bizim de hiç alışık olmadığımız bir durum” dedikten sonra bunun seyirci ‘evren’inde ortaya çıkan ciddi değişiklikle ilgili olduğunu vurguluyor. “Yeni ‘evren’e adapte olmaya çalışıyoruz” diyor.

Genel Yayın Yönetmeni Diştaş da dizi gün-saatleriyle ilgili yeni düzenlemenin gerekçesini açıklarken AB grubunun toplam izlerkitleye oranının yüzde 21’den yüzde 11’e gerilediğine dikkat çekti. Dahası, bu niceliksel küçülmenin yanısıra niteliksel değişmeye değindi. Bilindiği üzere eski reyting ölçüm sisteminde AB grubunda eğitim kıstası esas belirleyici iken yeni sistem ‘gelir’ kıstasını öne çıkardı. Söz gelimi eskiden aile reisi ve eşinin hem kendileri hem de anne-babaları üniversite mezunuysa AB sayılırken, artık yanında 20 kişi çalıştıran biri lise mezunu da olsa AB’de sayılıyor. Bence de bunu pratikte ve ‘kültürel’ anlamda AB-Total ayrımının büyük ölçüde ortadan kalktığı, hem de eski (yüksek eğitimli) AB grubunun iyice minimalleştiği şeklinde yorumlamak mümkün. Diştaş tabloyu daha da ‘perçinli’ hale getirecek şu notları ekliyor: “Yeni ölçüm sisteminde evrenin yüzde 80’ini lise ve altı eğitim seviyesinde bir seyirci kitlesi oluşturuyor. Böyle bir tabloda ‘Kayıp Şehir’ gibi dizilerin zorlanacağı açık değil mi? Çünkü eğitim seviyesi düştükçe seyirci daha ‘siyaz-beyaz’ bakıyor ekrana. Alt metinlerle, yan temalarla, toplumsal eleştirilerle ilgilenmiyor. Sadece olay kurgusuna bakıp merak duygusu ile izliyor. Ortalama seyirci, ‘merak’ı satın alıyor.”[…]

Yazar : Tayfun Atay
Source : Radikal

“RTÜK to decide on length of lovemaking scenes in Turkish TV series” – Hürriyet Daily News

“The Turkish Cabinet has authorized the Supreme Board of Radio and Television (RTÜK) to limit the length of lovemaking scenes in Turkish TV series, daily Hürriyet reported today.

The Cabinet made the decision after approving RTÜK’s decision to fine a Turkish channel for airing a lovemaking scene between the leading characters of the soap opera Aşk-ı Memnu (Forbidden Love) that lasted five minutes and 30 seconds.

RTÜK fined the channel for the “hot” lovemaking scenes, describing them as “too long and immoral” and accusing them of failing to comply with the structure of the Turkish family.

“Aşk-ı Memnu” was adapted from the book of the same name by Turkish novelist Halit Ziya Uşaklıgil and featured actors Kıvanç Tatlıtuğ (Behlül) and Beren Saat (Bihter) in the lead roles.

The show features the chain of events revolving around Adnan Bey (Selçuk Yöntem) and his family. Adnan Bey lives with his daughter and his deceased friend’s son Behlül (Kıvanç Tatlıtuğ), but their lives change when Firdevs Hanım and her daughters Peyker and Bither cross their path. Adnan Bey falls in love with Bihter and they get married, but their happiness is destroyed with the appearance of Behlül, who begins a forbidden affair with Bihter. The story ends with Bihter’s tragic suicide after her affair with Behlül is revealed.”

Source : Hürriyet Daily News