« Des séries et des vies » – revue Labyrinthes n°37

Extrait de l’éditorial par Renaud Pasquier : 

« Jadis on les dédaignait, on les négligeait, on les stigmatisait comme symbole de sous-culture et de mauvais goût, bras armé de l’abêtissement généralisé. Les temps ont bien changé : aujourd’hui, les séries américaines sont portées au pinacle, elles ne sont plus ce plaisir honteux qu’on cachait. Au contraire, il est de bon ton, à tout âge et dans tout milieu, de clamer son admiration pour Les Sopranos, The Wire, Mad Menet bien d’autres, et d’ajouter aux soirées passées devant l’écran les heures de conversation. Enfin les séries suscitent l’écriture, un déferlement de textes, analyses, articles, communications, bien au-delà des cercles de fans ou de journalistes spécialisés, jusque là leur domaine réservé. Les sociologues, les philosophes, les critiques littéraires s’en emparent, en font leur objet de prédilection. Labyrinthesouhaiterait moins s’inscrire dans cette vogue que l’interroger.

Non que nous voulions prendre de la distance, qu’elle soit amusée, accusatrice ou scientifique, avec cet impressionnant engouement ; il ne s’agit en rien de l’objectiver. Au contraire, c’est justement parce que beaucoup d’entre nous sont amateurs assidus de séries que nous voulons comprendre comment et pourquoi elles ont pris tant de place dans nos vies et celles de nos contemporains. Mieux encore, comment elles les ont façonnées, informées, transformées. Non pas donc considérer les séries comme des objets à manipuler à notre guise, calibrées selon concepts et raisonnements préalablement construits, mais mettre en jeu notre expérience de spectateur, et donc inverser les rôles : comment nous devenons les objets des séries, comment elles nous donnent forme, quelles « formes de vie » elles font naître.(…)« 

Source : revue Labyrinthe

« Éditorial », Labyrinthe , 37 | 2011 (2) , [En ligne], mis en ligne le 29 juillet 2011. URL : http://labyrinthe.revues.org/index4210.html. Consulté le 11 octobre 2011.

« Oh séries chéries! » – HS Les Inrocks

Texte de présentation du Hors-série des Inrocks « Oh séries chéries »  par Olivier Joyard : 

« Il y a eu le cinéma (“Tout le monde a deux métiers : le sien et critique de cinéma”, écrivait Truffaut), puis le foot (“La France compte cinquante millions de sélectionneurs”, se plaignaient Michel Hidalgo et consorts), il y a désormais les séries télé. Depuis dix ans, les anciens feuilletons du dimanche après-midi ont pris la dimension d’un phénomène culturel massif en même temps qu’ils gagnaient en maturité et en diversité. De chaque côté de l’écran, une révélation a eu lieu.

Les séries, invention du XXIe siècle ? Pas vraiment, mais leur perception et leur réalité ont changé. La sériephilie, petite soeur contemporaine de la cinéphilie, fait office de mot de passe générationnel. Les plateformes de streaming sont les nouvelles cinémathèques. De grandes oeuvres sont nées, de The Wire à Friday Night Lights ; il est du dernier chic de passer ses nuits devant l’intégrale A la Maison Blanche ou la saison 1 du Trône de fer ; les colloques universitaires s’épanchent sur la question du genre à travers Glee ou Buffy ; et personne ou presque n’ignore que Don Draper est un garçon compliqué.

L’amour des séries s’incarne sous des formes futiles ou profondes, sentimentales ou intellectuelles. C’est ce spectre inédit, large et organique, que Les Inrocks traversent à l’occasion de ce hors-série. Nous aimons les séries pour la grandeur ou la bêtise d’un personnage, pour la ritournelle d’un générique devenu madeleine (voir notre CD en supplément, qui convoque Angelo Badalamenti ou Lalo Schifrin), pour l’ampleur romanesque d’un récit, ou simplement pour le plaisir de revoir les mêmes visages entrer dans nos vies à répétition. On y découvre de nouveaux continents de fiction, pas seulement anglais ou californiens. On y croise des auteurs tout-puissants, à la liberté créative sans équivalent dans l’entertainment d’aujourd’hui. Pour les meilleures, de The Good Wife à Treme, les motifs sociaux et politiques viennent perturber l’ordonnancement tranquille des épisodes. Les séries déploient un monde de fétiches et d’idées neuves pour spectateurs contemporains jamais rassasiés. Elles supposent aussi un travail acharné dont la France n’a toujours pas trouvé la clef. Le témoignage exceptionnel du scénariste de Prime Suspect, John McNamara, nous plonge dans le quotidien d’une industrie US réactive et organisée pour faire face à l’imprévu. Malgré Engrenages et quelques autres, difficile de trouver une série d’ici vraiment aboutie. Les méthodes de travail américaines, souvent citées en exemple, ne sont pas simples à importer. 

Elles supposent une révolution culturelle qui n’est peut-être pas la solution. Les copies de bonnes séries seront toujours des copies. Dans l’entretien qu’il nous a accordé, l’écrivain Tristan Garcia, grand amateur du genre, diagnostique la fin de l’âge d’or des années 2000, symbolisé par des sommets comme Lost ou Six Feet Under, et l’arrivée des “séries conscientes”, potentiellement prétentieuses et maniéristes. On peut à la fois être d’accord avec lui et considérer que l’époque reste propice à l’émerveillement, même prudent. Les grandes séries continuent d’arriver chaque saison. Opportunité rare, l’histoire du genre se construit désormais en direct pour chacun de nous, et elle est passionnante. L’arrivée massive sur le petit écran des cinéastes, de Gus Van Sant, Martin Scorsese à David Fincher, sans oublier le retour du pionnier Michael Mann, marque un nouveau tournant. Les séries font envie même à ceux qui pensaient ne jamais en avoir envie. Ultime signe des temps. »

Olivier Joyard – Les Inrockuptibles

Fiche : Quelques séries à suivre…

Ce billet de synthèse a pour but de préparer les entretiens de terrain 2011-2012, permettant de compléter mon étude par une approche plus qualitative des modes de production et de création des séries télévisées en Turquie. Le choix de ces titres s’est opéré en prenant compte des critères suivants : diffusion sur des chaînes privées différentes, taux d’audience importants, séries en court de tournage sur la période 2011-2012, genres différents, accès aux plateaux de tournage ou/et avec des personnes impliquées dans sa réalisation (acteurs, producteurs, scénaristes, diffuseurs).

  • OYLE BIR GECER ZAMAN KI – KANAL D / D YAPIM
  • MUHTESEM YUZYIL – SHOW TV / TIMS PRODUCTION
  • KURTLAR VADISI PUSU – ATV / PANA FILM
  • BEHZAT Ç – STAR TV / ADAM FILM

Continuer la lecture de Fiche : Quelques séries à suivre…

« Soap operas increasing Iraqi interest in Turkish literature  » – Hürriyet Daily News

From 'Aşk-ı Memnu' (Forbidden Love). Source : Hurriyet

« The popularity of Turkish TV series on Arab channels, is attracting students at Iraqi universities’ Turkish literature departments. The Turkish Language and Literature Department has become one of the most popular faculties at Iraq University’s Foreign Languages Department. The phenomenon is part of a growth in Turkey’s ‘soft power,’ a sociologist says.

It has long been known that Turkish television series aired in Arab countries have resulted in an increased interest in Turkish culture, yet the shows have also begun attracting more students to the discipline of Turkish literature, according to academics. In Iraqi universities, Turkish literature now trails only English literature in terms of popularity.(…) »

Source : Hürriyet Daily News

 

 

 

First explorations of television audience survey datas (from Medyatava-AGB Nielsen)

Last update : may 18th 2011

I used excel’s macros programming (cf. this article for the technique) to gather into one database several informations about the daily audience of television in Turkey since 2004 containing : target group, day of diffusion, name of the program, channel of broadcasting, score of audience, rating, and market share. The period studied in that database runs from June 11th 2004 to May 1st 2011, and represents approximately, so 2500 days and 500.000 different programs referenced.

NA : in order to share those results with turkish colleagues more easily I tried to write this article in English. I apologize in advance for the grammar faults I’ll certainly do. You can post comments if some parts seems not understandable.

I considered that part of my thesis as a complement to other datas I presented into another articles (timelinesTV production informations). On the frame of a scientific research the global intention of this new quantitive work is to prepare, by gathering various quantitive facts or infos about my subject (tv turkish series production from 1970 to now) some sufficient factual backgrounds to lead further qualitative and theorical analysis.

THE DATAS :

Before any consideration I wanted to give some infos giving an idea of the turkish population concerned by the television. In Turkey, for a population of 72 millions inhabitants and 18,3 millions households in 2009, 17,9 millions have a tv (so 96%). It means around 71 millions turks were in 2009 able to watch television at home. (source : EU, MAVISE )

The audiences datas presented below were first produced by AGB Nielsen, then published day by day on Medyatava since June 2004.

According to their website « Nielsen Audience Measurement Turkey has been conducting Television Audience Measurement (TAM) services in Turkey since 1989. Today, the panel represents the urban Turkish population with 2500 households« .

KEY FACTS
Population: 72,561,312 total / 60,264,546 urban (2009 population)
Panel Size: 2,500 households
First data production: 1989

 
 

THE PANEL
Peoplemeters installed: 3,500 to 4,000
Universe: 51,657,783 (representing age 5+ urban population)
Data monitored: Terrestrial, cable and digital satellite
Data retrieval via: Phone lines

 

(Source : AGB Nielsen)

The main critic we could do about the audience survey by AGB Nielsen is the lack of precisions concerning the method they use to obtain their numbers. It’s also interesting to notice that AGB Nielsen is nowadays living the end of a crisis lasting since 2007 between them and the turkish government (cf « revue de presse » and this article), their contract coming also to an end. Anyway the interest of doing this study is the monopolistic position of AGB Nielsen in the audience measurement in Turkey. Even if the figures given by AGB are suspicious, the fact stays that every private channel has to refer to their numbers to decide of a broadcasting strategy.

Another precisions and definitions concerning the reading of the graphs :

  • Audience rating : from 0% to 100%, 0% meaning nobody watched the program, 100% the whole sample population watched it.
  • Audience score : from 1st to 100th place. A good score could be a high or low rate depending on the other audience ratings ; it’s relative.
  • Number of programs : quantity of programs broadcasted.
  • AB group / TÜM group : groups of population defined by AGB Nielsen. I don’t have yet a lot of information about the groups composition. So as a first exploration, this analysis will just focus on one : the AB group, seeming to be the « high and middle class », the one interesting the most for advertisement sellers.

AUDIENCE ANALYSIS :

I’ll present therefore a serie of various graphics intending to measure the importance of TV series audience amongst other kind of programs into the grid of the channels. At this step of the analysis the audience analysis can be approached by different ways : the program typologies, the channels grid’s structuration, and the periodicities of audience.

The audience data is a key fact for any channel studied : the audience weights the price of the advirtisement space in the broadcasting grid, and so the capacity of revenue of the channel. The higher audience gets, the more expensive you can sell advertisement. It seems quite important to analyze audiences and its impact on creation considering the behavior of other channels as in Turkey as abroad : for instance it’s well-known in America the channels are monitoring very carefully the audience’s curves and make changes to the contents, to the scenario, to get better audience rates. The situation in Turkey seems to be likewise and any telespectator in Turkey could see what importance and presence got the sponsors into the production of a tv serie.

1/ PROGRAMS TYPOLOGIES

The first graph presented above compares the audience score rates (from the 1st viewed to the 100th) of different categories of programs :

Cartoons, Concerts, Daily Magazines, Documentary, Film Foreign, Film Turkish, Health/Service Education, Humour, Magazines, Meeting/Discussion, Music/Entertainment, News report, Newscast, Politics, Reality Show, Religious, Serials Foreign, Serials Turkish, Sport News, Sporting Events, Sporting Magazine, Studio Programs, Talk Show, Theatre/Cabaret/Musicals, TV Games, Weekly Magazines, Women.

Audience scores analysis by programs typologies (click for a full view)

Reading the graph : We can see on this graph a very distinguished preferences from the audience (10 first rates ) for turkish series and newscasts, the third prefered kind of program being the TV games. The particular observation with this chart is the relative constance of those curves for every typology from 10th to 100th rating score. The interpretation we could do at this point (as a hypothesis) would be the following :

Above another graph in the same spirit but slightly different. In that graph the scores (x axis) are replaced by constant ratings, so the interpretation deals with another fact : the « left-behinds » turkish series programs.

Audience rating analysis by programs typologies (click for a full view)

Reading the graph : In my interpretation of this graph, the « left-behinds » turkish series are the programs in orange at the left side of the graph, composing the big orange curve. Those programs get a very low audience (less than 10% on the x axis) but are massively produced ! That fact seems quite paradoxical but could be seen as an effect of the inflation of the tv series production – the so-called « Yesilcam » era for tv series. It could be explained by the will of producing more and more series, hoping one of them gets good rates. Series being the most successful way to have audience, more producers invent series concepts. Logically this « liberal » way to produce generates more offer than demand, and we can imagine half of series production has just succeeded in starting but not lasting. This could be the dark side of series production : the inflation of ideas and careers left behind because of their lack of capacity to get audiences.

2/ CHANNELS

The previous graphs were more dealing about the repartition of the whole programming between various typologies, without precising on which channels they were broadcasted.

The next graph shows how every channel compose its own grid of programs.

Channel programmation composition by typologies (%) (click for a full view)

The next graph shows the numbers of TV programs rated from 1st to 10th, classified by channels.

Scoring audiences by channel (click for a full view)

There is another way, perhaps more explicit, to show those figures using the percentages.

Audience scoring audiences by channels (%) (click for a full view)

Reading the graph : On the 18 channels presents in the AGB Nielsen datas, only 4 are getting more than 80% of the 10th first rates. So, if we trust AGB sources, the spectators are mostly watching ATV (in blue), KanalD (orange), Show TV (clear blue) and Star TV (pink). It’s also good to notice in the margin that TRT is treated differently by AGB Nielsen since 200…

The interesting fact showed by these numbers is the constance of this repartition in the 10th first rates.

3/ PERIODICITIES

Another important factors of the composition of broadcasting are the cycles of programs typologies choices within a day, within a week, or within a year. The time factor is a complex data to compute on a day-by-day database.

The two next graphics shows clear cycles on year-scale illustrations :

Audience ratings for 1st score by major typologies (click to a full view)
Average audience rating by day of broadcasting for the 1st rating score (click to a full view)

Reading the graphs : every summer (between june and august) since 2005 registers a clear decrease of audience. We could also note that turkish series (in blue) gets most of the highest rates the whole year compared to other programs, as we can see by the « clouds » of high rates.

The serie of the next three graphics focuses on turkish series programmation and their periodicity by month  :

Turkish series analysis by month - average / quantities (click to get a full view)

Turkish series analysis by month – average / percentages (click to get a full view)

Turkish series analysis by month, year of programmation and audience scores - quantities (click to get a full view)

Reading the graphs : As we’ve seen before, the summer period could be considered as an empty one for series. But here the curves for all audiences scores and 10th first audiences scores are very different : as  the total of programs broadcasted is merely stable the whole year (just february, march and june registering a light decrease), the curve of best scores is much more flexible and increase from january to march. We could input that to a big difference of strategy of diffusion between series in general and series gaining the first 10th scores. Perhaps after a couple of month of tests, the less competing series are ended at the benefit of the other, then more broadcasted

Furthermore the last graph shows the increase of serie’s diffusion from 2005 to 2010 in the absolute, with two years having real particularities : 2008 (the month of August for first audience score shows a peak) and 2010 (the absolute quantities of series broadcasted for all scores and for the first score).

The next graph focuses on a week-scale analysis, showing the percentages of programs broadcasted by their typology every day.

Typologies by weekdays (%) (click for a full view)

Reading the graph : Once more we can see the importance of turkish series in the grid compared to other kinds. Series are mostly working-days programs, the saturday and sunday gaining good audiences with other kinds of programs like TV games. For instance the mondays, the first 10th best audiences are usually generated by turkish series (50%), then by newscasts (25%), and the rest stays under 10% or less.

LIMITS AND CONCLUSIONS :

To be understood clearly, I wanted to precise I tried to keep in mind during this study that the figures given by AGB Nielsen should be taken with many precautions : first because of the different complaints opposing AGB and the government on the accusation of manipulating the datas, and secondly because of the absence of another major channels like TRT. So it’s clear AGB figures doesn’t have to be taken as a reflect of the reality of the audience, but as a tool inside the TV production chain.

Taking in consideration those limits the interest of this database lies anyway in the possibility to show how the different program typologies, the channels, the schedule of broadcasting and the ratings are interrelated, constituting a field in a Bourdieusian way to speak. To complete those diagrams by a field analysis, a factorial correspondance analysis would be necessary and should be the main topic of a next article.

As a first conclusion it’s obvious to say turkish series have a strategical importance in the channel’s capacity to get audience, and mechanically to get revenues from advertisement. More than strategical it’s nowadays the first kind of program getting best audiences.  This capacity reveals interesting characteristics of the TV production for private medias in Turkey : even if in Turkey the topics of series are very dependent with local cultures and so differentiate production from US, the logic of « market » and the inflation effects related are similar.

A second conclusion to this article would be the help those analysis gave to give more precision to my phd thesis. It’s one thing to know that generally tv series are important in the television panorama, it’s another to be able to give precise datas about it. Furthermore, crossing those reflexions with previous ones, those analysis allow me to choose with more arguments a reduced panel of channels (ATV, SHOW, KANAL D and STAR TV) being the channels whiches are in the same time major producers of TV shows, and the most dependent on audiences rates in their capacity to attract advertisement funding.

Grandes tendances de la production de séries en Turquie entre 1970 et 2010 (premier jet)

A partir des données recueillies sur Internet puis croisées, j’ai pu créer quelques graphiques montrant l’évolution de la production turque de séries télévisées entre 1970 et 2010. Les données seront prochainement disponibles sous forme de tableau excel sur ce site.

Quelques précisions et précautions : sur mon échantillon de base désagrégé (soit 1694 titres de séries recensées), une grande partie n’est pas encore totalement renseignée. En effet il me manque parfois soit l’année de production, soit la maison de production, soit le canal de diffusion, voire les trois. Le travail présenté dans ce billet est donc toujours en cours d’évolution et sera peut-être caduque une fois que l’ensemble de ces 1694 séries sera totalement renseignées.

De plus les données qui sont illustrées ici ne représentent que les années où ont été « lancés » ces titres : ces graphiques ne tiennent donc pas en compte les séries qui continuent d’une année sur l’autre (telles que Kurtlar Vadisi ou Muhteşem Yüzyıl) ou les taux d’audience. Prendre en compte ces aspects demandent de récupérer d’autres types de données, et ce par d’autres méthodes (ces chantiers sont en cours).

Pour ces raisons je ne m’aventurerai pas à tirer des conclusions à cette étape, si ce n’est pour remarquer ou questionner des grandes tendances.

Sources croisées : sinematurk.com / diziler.com / dizimizi.com / imdb.com
Données recueillies grâce à RapidMiner.

 

Graphique n°1 (cliquez pour agrandir)

 

Note concernant le graphique n°1 : le pic de l’année 2000 est soit intéressant soit suspect. Il peut s’agir soit d’une erreur dans les sources, soit d’une réelle « explosion » de la production. La question reste en suspens. On observe aussi un léger recul de la production entre 2008 et 2010.

Graphique n°2 (cliquez pour agrandir)

Note concernant le graphique n°2 : il s’agit de courbes empilées. L’intitulé « autres (<8) » correspond aux chaînes ayant diffusé moins de 8 titres de séries sur l’ensemble de la période étudiée. Le recul entre 2007 et 2010 est lui aussi à prendre avec précaution : erreur des sources ou effet réel ? De même il est impossible que la Fox (aka TGRT) ait diffusé des programmes avant 1993, date de son lancement. On en conclura qu’un nouveau nettoyage des sources est donc ici nécessaire, d’autant que l’échantillon ne couvre qu’environ un tiers de l’ensemble des séries recensées (1694 titres).

 

Graphique n°3 (cliquez pour agrandir)

Note concernant le graphique n°3 : comme pour le précédent graphique l’intitulé « autres (<15) » correspond aux maisons de production ayant produit moins de 15 titres de séries sur l’ensemble de la période étudiée. Entre 2005 et 2010, on notera que presque la moitié de la production est produite par des petites maisons de production (classées comme « autres (<15) »). Enfin on notera que l’échantillon ne couvre lui aussi qu’un peu plus d’un tiers de l’ensemble des séries recensées (1694 titres).

Graphique n°4 (cliquez pour agrandir)

Note concernant le graphique n°4 : ce graphique reprend les données du graphique précédent à ceci près qu’il ne comptabilise pas les maisons de production ayant produit moins de 15 titres de séries entre 1970 et 2010. Il permet d’observer une évolution allant de situations de quasi monopole dans les années 70 de quelques grands producteurs (nationaux comme la TRT), à une fragmentation de la production répartie entre une quinzaine de producteurs plus ou moins importants aujourd’hui.

Répertoire de séries TV turques

Auteur : Ssoosay (source : Flickr, licence Creative Commons)

Voici un premier répertoire des séries télé turques produites depuis les années 70, composé à partir de données disponibles publiquement sur Internet.

Le répertoire complet sera prochainement disponible au format excel.

sources : diziler.com

Continuer la lecture de Répertoire de séries TV turques

« Ottoman series rules TV ratings in Turkey » – Hürriyet Daily News

"Muhteşem Yüzyıl". Source : Hürriyet

« Despite drawing massive reaction from conservative circles and a warning from Turkish media watchdog, ‘Muhteşem Yüzyıl,’ a soap opera based on events that occurred during the reign of Süleyman I, continues to be the most-watched television series » (…)

Source : http://www.hurriyetdailynews.com/n.php?n=the-8216magnificent8217-hits-top-ratings-2011-01-14


« RTÜK: « Magnificent Century » Series Clashes with « Moral Values ». » – Bianet

« RTÜK issued a warning to Show TV on the grounds of the series « Magnificent Century ». The series about the life of Sultan Suleyman the Magnificent went on air on 6 January. It is alleged to be « contrary to the national and moral values of the society », RTÜK said.

The Radio and Television Supreme Council (RTÜK) issued a warning to the Turkish television station Show TV on the grounds of the series « Magnificent Century » (‘Muhteşem Yüzyıl’). The series about the life of Sultan Suleyman the Magnificent was criticized by Deputy Prime Minister Bülent Arınç and members of the Prosperity Party (SP).

Feelings ran high already after promotional material had been broadcasted from 11 December onwards and billboards to advertise for the series were posted. Some people demanded to cancel the series even before the first episode had been broadcasted. On 5 January, a group of protestors gathered in front of the television station in Levent/Istanbul to express their disapproval.(…) »

Source : Bianet

 » « Organized » Intolerance against « Magnificent Century » Series » – Bianet

« After a statement of Deputy PM Arınç against the series « Magnificent Century », members of the Felicity Party protested in front of the Show TV building. MHP members demanded to cancel the series. The history advisor and scriptwriter do not agree with the reactions.

The new TV series « Magnificent Century » set in the reign of Sultan Suleyman the Magnificent in the 16th century created quite a stir in the Turkish media and public. The series was launched on Show TV in the beginning of January. It was criticized by the Turkish Radio and Television Corporation (TRT), the Anatolian Agency, the Radio and Television Supreme Council (RTÜK) and the responsible Deputy Prime Minister Bülent Arınç. The series furthermore took flak from nationalist and Islamic parties.

Members of the Prosperity Party (SP) and the Anatolian Youth Association were accompanied by janissary musicians when they walked to the building of Show TV to express their protest against the series. Demonstrators destroyed advertisements of the series. Saying ‘Allah is great’, they also shouted slogans such as « Don’t sleep, government; take care of our history » and « Break the hands of the ones who touch the Ottomans »(…) »

Source : Bianet

« Historians criticize controversial TV show for serious inaccuracies » – Today’s Zaman

“Muhteşem Yüzyıl” was filled with many serious mistakes according to historians. Source : Today's Zaman

« A new TV series about Süleyman the Magnificent, the famous Ottoman sultan, also known as Kanuni Sultan Süleyman (Süleyman the Lawmaker), continued to draw criticism after the first episode was aired on Wednesday evening.

Titled “Muhteşem Yüzyıl” (Magnificent Century), the series was filled with many serious mistakes, historians told Today’s Zaman.

Historian Ahmet Yaşar Ocak said he did not like the show, while author Okay Tiryakioğlu noted that the show appealed to the imagination of the West. Author Mustafa Armağan said the series will only serve to destroy the ideals of society.(…) »

Source : Today’s Zaman

« Turkish soap opera becomes popular in Greece » – Hürriyet Daily News

"Binbir Gece". Source : Hürriyet

« A new trend in Greece comes from Turkey and its name is « Binbir Gece » (Thousand and One Nights), a Turkish soap opera.

The soap focuses on a Turkish love story that has magnetized Greece’s television audience in such a way that the majority of the Greek press speaks about a Turkish invasion of Greek TV. « (…)

Source : http://www.hurriyetdailynews.com/n.php?n=turkish-soap-opera-becomes-popular-in-greece-2010-07-18