« Radical groups campaign against Turkish series in Serbia » – Hürriyet Daily News

« A Serbian radical group has launched a campaign against a Turkish TV series that is currently very popular in Serbia, Anatolia news agency reported.

“Nashi 1389” members have been putting up posters around Belgrade to protest Turkish series in general, but most specifically “Muhteşem Yüzyıl” (The Magnificent Century), which the group claims « shows ruler Süleyman as a positive historic personality. »

The posters show Süleyman and a national Serbian hero. The captions contain insults against the former while the latter is praised by the movement.

“Nashi 1389” is known to be the current successor to the Chetniks, a nationalistic organization that took part in the killings in Bosnia between 1992 and 1995, as well as in both world wars.

Turkish TV series are now extremely popular in the region. »

Source : Hürriyet Daily News

« Mavi on the rise in the Middle East due to popular Turkish TV. shows » – Sabah

Source : Sabah

« With new stores opened in Iraq, Libya, Saudi Arabia and the United Arab Emirates, Mavi General Manager Cüneyt Yavuz explains that popular Turkish television shows have had a positive influence in increasing their regional sales.

Turkish television series are breaking rating records in the Middle East, which in turn is positively affecting the trade volume of Turkish firms operating in the region.

According to Cüneyt Yavuz the General Manager of the famous ready- to- wear brand, Mavi is extremely well-known and in demand in the Middle East and therefore they have now opened stores in new important markets such as Libya, Saudi Arabia and the United Arab Emirates. Yavuz explains that the Middle Eastern market has been an interesting experience for Mavi and states that due to the import of Turkish television series, interest is on the rise. Yavuz also states that with Kıvanç Tatlıtuğ acting in the brand’s commercials for the past three years, he has now become an important ambassador for Mavi in the region.

Yavuz says that in the short period of five years’ time since they were first established, Mavi quickly became the leader of Turkey’s jean market, however wanting to expand further; they first opened up stores in Germany and then entered the American market, the homeland of the blue jean, where they have successfully established a chain of Mavi stores. « 

Source : Sabah

« Fatmagül’s popularity rises in Arab world » – Hürriyet Daily News

Beren Saat stars in ‘Fatmagül’ün Suçu Ne?’. Source : Hürriyet

« Turkey’s popular “Fatmagül’ün Suçu Ne?” (What is Fatmagül’s Fault?) is the latest Turkish TV series to gain popularity in Middle Eastern and Arab countries.

In the series, Beren Saat, who previously gained fame in the same region with her previous role “Bihter” in TV series “Aşk-ı Memnu” (Forbidden Love), stars with actor Egin Akyürek. She is known as Fatima.

The series is aired in primetime on satellite channel MBC4 five days a week in the United Arab Emirates. A great deal of news about the series has appeared in the Arab world; developments with the characters are shared with the public.

The series has gained lots of fans in the country and each episode is uploaded to video-sharing websites after being aired on television.

“Fatmagül’ün Suçu Ne?” is aired on Turkish Kanal D channel every Thursday and features the story of a rape victim, Fatmagül. »

Source : Hürriyet Daily News

Reports : ISTANBUL 2010 CULTURAL INVENTORY

SOME QUOTES FROM ISTANBUL 2010 CULTURAL INVENTORY REPORT

P.27-29 :

« Türkiye‟de TV mecrası, tüm reklam mecraları arasında ilk sıradadır ve %50‟yi aĢan payla öncüdür74. Bu durum, Türkiye‟de TV izleme alıĢkanlıkları ile doğrudan iliĢkilidir. TUIK‟e göre Türkiye‟de tüketicilerin kültüre ayırdıkları toplam zamanlarının %87‟si televizyon seyretmekle geçmektedir. Reklam alan yapım türleri arasında, yerli dizileri ve haberleri yakın takipte yerli sinema baĢı çekmektedir. Dizi filmler, haberleri takiben, TV‟de en çok seyredilen program türüdür.

Rek-lam-lar!

Özellikle 2000 sonrasında, özel televizyonculuğun medya sektöründe baĢat duruma geçmesinde ve sektörün en önemli geliri olan reklamları çekmede, “yerli diziler” önemli role sahiptir. Dizi üretimi, kısa sürede özel televizyon kanallarının dıĢında geliĢen bir yan sanayi olarak hızla büyürken, bugün Türkiye‟de TV‟ler, reklam ve dizi film sektörü arasında bir köprü vazifesi görmektedir. Bu durum dizi sektörünü, bir taraftan reklam verene bağlı ve dolayısıyla ekonomik krizlere son derece duyarlı hale getirmektedir. Bu nedenle reklam ve sponsorluk gelirleriyle birlikte yıllık en az 1 milyar YTL dolayında olan dizi film ekonomisinde, 2008 ekonomik krizinden kaynaklanan %30‟luk bir küçülme gerçekleĢmiĢtir.

Dizi Film Bir Yatırım Alanı mı?

Daha önce söz edildiği üzere, dizi filmler TV kanalları tarafından finanse edilmektedir. Bununla birlikte, bir sezon dahi süreceği garanti olmayan bir dizi film yapımı için gerekli olan baĢlangıç maliyeti yüz binlerce doları bulabilmektedir. Ġzlenme oranları yeterince yüksek olmayan diziler reklam gelirinden yoksun kalmakta ve yayından kaldırılabilmektedir. “Bir dizi için 250–300 bin lirayı ön hazırlıkta AR-GE tarafında riske atmamıĢ bir müĢteri (TV kanalı) profilinin olduğu ve bunlardan sadece 4–5 tane olduğu bir ortamda kimse dönüp üretim altyapısına büyük yatırım yapmak istememektedir.” Dizinin TV kanalındaki sürekliliğini garantilemeyen yapımcılar, finansal geleceklerini planlayamamakta, dolayısıyla sektörel altyapıyı geliĢtirmek üzere milyonlarca dolarlık yatırım gerçekleĢtirmeye yönelik harekete geçememektedirler. Bu sorun, film üretimimizin kurumsallaĢma sürecindeki temel kilit noktalarından biri olarak görülebilir.

Bir Ġhraç Ürünü Olarak Yerli Diziler

Son yıllarda, özellikle Ortadoğu ülkelerinde yerli dizilerimize karĢı büyük bir ilgi olduğu bilinmektedir. Bu ilgi, yerli dizilerin bir ihracat sektörü olması yönündeki yasal düzenlemeleri beraberinde getirmiĢtir. Bu düzenlemeler temel olarak, yapımcılara ihracat desteklerinden faydalanacakları bir mekanizmanın oluĢturulması yönündedir. Böylece bir taraftan ihracat gerçekleĢtirilirken, bir taraftan dizi film sektörünün ülke ihracatımıza yaratacağı katma değer ve oluĢturacağı etki gözlenecektir.

Bu durumu birkaç nokta ile açıklamak gerekirse; dizi ihracatının ilk olarak, dizilerde görülen mekân ve yerli ürünlere karĢı bir talep doğuracağı görülecektir. Dünyadaki örneklerin de bu yönde olduğu izlenmiĢtir. Turizmi ve çeĢitli ürünlerin ihracatını tetikleyecek olan bu talep, sadece sektörde değil, ülke ekonomisinde de önemli bir iyileĢmeyi beraberinde getirecektir.

Yakın bir örnek vermek gerekirse, 2010 yılının Mayıs ayında Arap ülkelerinden 105.000 turist Türkiye‟yi ziyaret etmiĢtir. Bu rakam geçen yıl aynı döneme nazaran %33‟lük bir büyümeye iĢaret etmektedir. Bu büyümede Arap ülkelerinde yayınlanan “GümüĢ” dizisinin önemli bir payı var. Daha önceki yıllarda Ġstanbul‟daki camileri görmeye gelen Arap turistler, Ģimdilerde dizi filmlerdeki mekânları görmek, oyunculara rastlamak peĢindedir.

Diziler yalnızca yabancı turizmi değil, yerli turizmi de harekete geçirmektedir. GeçmiĢ yıllardaki örneklerinde doğuda çekilen dizilerin, bölgeye yönelik kayda değer bir merak oluĢturduğu bilinmektedir.

Dizi filmlerin ihracatının desteklendiği bu süreçte, telif haklarıyla ilgili sıkıntıların giderilmesi büyük önem taĢımaktadır (bkz. Mevzuat Yapısı).

Dizi Setlerindeki ÇalıĢma KoĢulları Protesto Ediliyor…

TV kanallarının reklam gelirlerini artırmak amacıyla, yapımcılara “daha uzun” bölümler çekmeleri yönündeki talebi, dizi bölümlerinin haftada 90 dakikayı bulmasına neden olmaktadır. Bu durum, tüm set çalıĢanları için “daha uzun” çalıĢma saatleri anlamına gelmektedir. Dizi film üretim sürecinde çalıĢma Ģartlarının sosyal haklar, fiziksel koĢullar vb. açılardan oldukça ağır olduğu göz önünde bulundurulduğunda, bu durum açıkça, mevcut sorunların daha da büyümesi anlamına gelmektedir. Bu çalıĢma koĢulları hem hikâyelerin hem de ortaya çıkan ürünün kalitesini düĢürmektedir. Özellikle, dizi film ihracatı için yapılan yasal düzenlemelerle birlikte düĢünüldüğünde, temelde mevzuattan kaynaklanan bu sorun, ciddi bir çeliĢkiyi ortaya koymaktadır.

Giderek artan dizi süreleri, 24 Aralık 2010‟da Taksim‟de tüm dizi setlerindeki çalıĢanların katılımıyla gerçekleĢen “Yerli Dizi Yersiz Uzun” eyleminde protesto edilmiĢtir87. Örgütlenme geleneği olmayan film endüstrisinde, sadece bir protestodan ibaret olarak algılanmaması gereken bu eylem, çalıĢanların sosyal haklarını aramaları anlamında önemli ve olumlu bir geliĢmedir. » […]


 » ‘World’s richest man’ to invest in Turkish market » – Hürriyet Daily News

Hisarcıklıoğlu (L) meets with Carlos Slim, the world’s wealthiest man according to the Forbes magazine, in Mexico City, to discuss the Mexican businessman’s possible investments in Turkey, especially in the telecoms sector. Slim plans to visit Turkey soon. Courtesy of TOBB. Source : Hürriyet

« Turkey and Mexico need to sign a free trade deal and lift trade barriers, says Rifat Hisarcıklıoğlu, head of Turkey’s Union of Chambers and Commodity Exchanges.

Obstacles to trade between Turkey and Mexico should be lifted immediately and the two countries should sign a free trade agreement as soon as possible, said Rifat Hisarcıklıoğlu, President of the Union of Chambers and Commodity Exchanges of Turkey (TOBB), speaking at the Mexico-Turkey Business Forum in Mexico City Mexico over the weekend.

“Turkish businessmen have turned a blind eye to Mexio. We are the most active entrepreneurs in the region, but we have missed out on Mexico,” said Hisarcıkloğlu adding that in order to have a say in the global arena, Turkey needs to trade with Mexico. To help this, the two countries should agree to lift visa requirements and double taxation, as well as protecting investments, he added.

TOBB head meets Slim

Hisarcıklıoğlu also had the opportunity to visit Mexican national Carlos Slim, declared the world’s richest man in 2010 and 2011 by Forbes magazine, with a fortune of approximately $70 billion. Slim told Hisarcıklıoğlu that he looked favorably on investing in Turkey, especially in the telecommunications sector, according to the Anatolia news agency. Slim is heavily involved in Mexico’s telecommunications sector (Telmex and America Movil) and has several investments in other industries such as banking, technology and retail. Anatolia news agency quoted Hisarcıklıoğlu as saying that Slim was planning a trip to Turkey as soon as this summer, and that he would be given the opportunity to meet with Turkish Prime Minister Recep Tayyip Erdoğan. According to Hisarcıklıoğlu, Slim said Turkey was a “shining star,” and that if Turkey and Mexico were able to maintain close relations over the next ten years, both countries would be promoted to the status of truly developed countries. »

Source : Hürriyet Daily News

« TV series in hot water over destruction of historical cave » – Today’s Zaman

The Ottoman-site TV series “Muhteşem Yüzyıl” used Yarımburgaz Cave without permission while shooting. (Photo: Today's Zaman, Üsame Arı)

« Workers who allegedly damaged the historical Yarımburgaz Cave while shooting a TV series there without permission are now facing a prison sentence of up to five years.

Used recently without permission as the set for one of the most watched TV series in Turkey, the Ottoman Empire-set “Muhteşem Yüzyıl” (Magnificent Century), the Yarımburgaz Cave, which dates back 15,000 years, came into the spotlight because of damage that was caused during the shooting of several episodes of the TV series.

According to a Radikal daily report on Sunday, two young archaeologists — Yiğit Ozar and Berkay Dinçer — who were watching episodes 43 and 44 of “Muhteşem Yüzyıl” realized that what they were seeing might be the Yarımburgaz Cave.

After they verified that the series was shot in the cave, they filed a complaint against the TV series.

Due to the complaint from the two archeologists, professionals from the İstanbul Archaeological Museum went to the cave to examine it and drafted a report based on their findings. The report was sent to the İstanbul Public Prosecutor’s Office. Turkish Penal Code (TCK) Law 2863 stipulates a prison sentence of up to five years and fines equivalent to TL 5,000 per day for anyone who damages historical sites under protection.

The comedy series “Leyla ile Mecnun” is another TV series that used the Yarımburgaz Cave as a set for its episodes.

The Yarımburgaz Cave, located near İstanbul, is the oldest known evidence of human presence in Turkey. It is placed among the first-degree archeological sites and is on the List of Cultural Property under Enhanced Protection.

Noting that damaging historical sites is a crime, Dinçer told Radikal that a plan to protect the cave should be drawn up as soon as possible and added, “We cannot protect the cave using only metal bars.” « 

Source : Today’s Zaman

« Women’s drama sells more, say Turkish TV series and film producers » – Hürriyet Daily News

'Fatmagül’ün Suçu Ne?’ tells the story of a rape victim, Fatmagül, and her struggle to return to life again. Source : Hürriyet

« Turkish TV series are driven by what will appeal to women, according to TV and film producers meeting at an equal-opportunity committee in Parliament.

“We have rating concerns. We need to appeal to women at first,” Ay Productions official Mithat Topaç said yesterday at the Role of the Media in Social Gender Equality subcommittee meeting of the Committee on Equality of Opportunity for Women and Men. “If we can succeed it, a TV series will continue.”

The committee gathered under the direction of Justice and Development Party (AKP) deputy Zeynep Karahan Uslu.

Many companies do not produce detective series because they will not sell, said a representative from Focus Film, Mehmet Erişti. “We exploit the drama of women, and they feel safer when they see other women’s dramas in those series.” Some 31 percent of managers in Turkey are women, Uslu said, noting that women’s role in society had changed.

In response, Uslu said the subcommittee had come together to discuss how this social change could be reflected in TV series.

Violence exists in daily life, she said, but added that it was important to show it in TV productions and films with a certain goal.

“For example, we don’t see in TV series a man who has gotten a restraining order from his home,” she said, noting that rape scenes could also be made more aesthetical.

According to the committee’s research, there is one unemployed man versus nine unemployed women in the most popular eight TV series, she said.

Erler Film Company representative Nuran Kuran said most screenwriters were female and added that they depicted positive examples of women’s positions in social life in her company’s productions.

“But we cannot go deep into their problems because the public would get bored,” she said, adding that they never discriminated on the basis of language, religion or gender in their productions.

Kuran also claimed that Tukish TV series had created the Arab Spring. She said, “Erler Film’s owner Türker İnanoğlu had a guest from Egypt 1.5 years ago. ‘The reason for the Arab Spring is meanly your TV series. They see that there is democracy and everything is very beautiful in Turkey. And they began thinking ‘why are we like this’.”

At Ay Productions, three of the four screenwriters are women while two of the four directors are also women, Topaç said. He also said the TV series “Fatmagül’ün Suçu Ne?” (What is Fatmagül’s Crime?) had received reaction, especially because of its famous rape scene. “But then we saw how a rape victim woman returns to life.” « 

Source : Hürriyet Daily News

« Creative writers to have center in İzmir » – Hürriyet Daily News

The International Creative Writers’s Center will be established on a 8,000 square meter area in the Seferihisar district, a popular destination in the Aegean region. Source : Hürriyet

« İzmir’s Seferihisar district is set to become the site of an International Creative Writers’ Center at the ancient city of Teos, which was known as the city of artists in ancient times, daily Hürriyet reported.

The center will be the first and only international education center where writers will be trained for TV series, novel and ad writing.

The goal of the project is to create a center in the field of text and script writing, an industry that is worth $2 million worldwide. World-renowned writers and professors will give classes at the center, which will also host a writer’s house for famous writers to write books.

The center will be established on the Akkum beach of Seferihisar after a signing ceremony to be held next month. Seferihisar Municipality is providing full support to the project and has allocated 8,000 square meters of land on the beach for the center.

Although leading world universities have opened creative writing departments, the planned center will be the first one to be used by universities in concert, said Yavuz Demir, the head of Samsun’s Ondokuz Mayıs University’s Faculty of Literature and the mastermind behind the project.

“In this sense, this center will be the first of its kind. Its name will be Teos International Creative Writers’ Center. The education in the center will turn into a certified system in the next few years,” Demir said.

Ondokuz Mayıs, Oxford and the United States’ Ferris State universities are all collaborating on the project, Demir said, but added that Stanford and New York universities might also join the project in the future.

Postgraduate and doctoral degrees will be offered at the center, along with conferences, workshops, seminars and summer schools thanks to collaboration between the “dream sector and universities,” according to organizers.

Seferihisar Mayor Tunç Soyer told Hürriyet that the project was expected to make Turkey and Seferihisar a center of attraction in the field of literature. The mayor said an actors’ union was formed for the first time in history in the same region. “This project is suitable for the history of Seferihisar. We expect writers from all around the world to the center.” »

Source : Hürriyet Daily News

« Content is the king: Hürriyet’s Sabancı » – Hürriyet Daily News

Hürriyet chairwoman Vuslat Doğan Sabancı (C) speaks during a summit in Bursa. DHA photo. Source : Hürriyet

« The leading element in tomorrow’s online media will be content, said Vuslat Doğan Sabancı, chairwoman of Hürriyet newspaper, at the 1st Uludağ Economy Summit in the northwestern province of Bursa over the weekend.

“Publishing content online is relatively easy and open to everyone, but the cost of maintaining permanence is high,” Sabancı said during a panel session on March 17. A good brand, unique content and the technology pave the way for successful media, Sabancı said. “The future of media lies on the Internet; however, the road to that future is full of traps, because remaining permanent in online media is very difficult.”

Doğan Holding, the parent company of Hürriyet, is active in internet media across nine countries in the region. Emphasizing the importance of having a successful brand and unique idea, as well the ability to promote the content in order to have a long-lasting place in the international media arena, Sabancı said the walls between media such as radio, newspapers, magazines and TV have vanished in recent years. “Today, Hürriyet reaches 2 million people with its print versions and an additional 2.2 million readers through its Web site,” she said, noting that approximately 1.5 million readers follow the daily through social media.

As today’s online media offers the ability to reach wide masses of readers, surpassing the conventional distribution channels, content has regained its importance, according to Sabancı. “Apple and others already do the distribution part; what we need to do is to create unique content. I am saying this clearly: Content is king, and our business is content.”

Excluding media competitors based in the U.K., hurriyet.com.tr, Hürriyet’s online news portal, is the biggest of its kind in Europe in terms of access, Sabancı noted. […] »

Source : Hürriyet Daily News

 » ‘Valley of the Wolves’ star becomes honorary culture, tourism attaché » – Hürriyet Daily News

Source : Hürriyet

« Turkish actor Necati Şaşmaz, better known as the character Polat Alemdar from the TV series “Kurtlar Vadisi” (Valley of the Wolves), has been named an honorary culture and tourism attaché for Turkish Cyprus.

Şaşmaz received the Turkish and English honorary attaché documents from Turkish Cypriot Prime Minister İrsen Küçük and Tourism Environment and Culture Minister Ünsal Üstel on March 14 at a ceremony.

Noting that he would start working for the promotion of Turkish Cyprus abroad, Şaşmaz said, “I will do my best to carry out this mission.”

He said the late northern Cypriot President Rauf Denktaş had performed in their TV series, the actor said: “We were thinking of making [Turkish Cyprus] a tourism country. We have mentioned it in our series a few times, and we realized it thanks to Denktaş.”

Küçük said northern Cyprus was in great need of promotional work. While noting that he did not have too much time to watch TV, the prime minister said Şaşmaz’s series was popular in the country.

Küçük also denied rumors made some by some media circles that he had also had a part in “Valley of the Wolves.”

The prime minister said Denktaş’s appearance on the show had contributed to the country’s tourism and added that Şaşmaz would highlight the tourism sector in the country.

After speeches, Şaşmaz received the Turkish attaché documents from Küçük and the English document from Üstel.

The TV series “Valley of the Wolves” was created by Osman Sınav. The show became an instant hit with its references to Turkish politics, its unabashed abuse of social sensitivities on patriotism and its unprecedented scenes of violence that included “assassination and torture on television,” according to Hürriyet Daily News reviewer Emrah Güler. »

Source : Hürriyet

Representation of media groups. Looking for inspiration…

As I’d like to make a representation of the media groups in Turkey I looked for some works previously done on this kind of topic. Those two graphs found on the web illustrate the links between audiovisual and press production in one hand, and the media groups in another hand. Those representations are very helpful to give an idea of the complexity of media sector and of the interelations between finance, media groups, producers, technicians, and so on… 

Financial links between cinéma et media groups in 2010 (source CNC). Click to download the complete pdf
Media groups in France in 2004. (source : internet). Click to dowload the complete pdf file

See also the Pierre Carles documentaries on media groups in France, particularly on TF1 channel : « Fin de concession » (2010), « Pas vu, pas pris » (1998), « Enfin pris? » (2003)

Bonus : 

Photogram of the Pierre Carles documentary, « Fin de concession » (2010). Extract of a printed interview of Patrick Le Lay, TF1 CEO.

My translation to english of the quote in pink (from « Les dirigeants face au changement. Baromètre 2004 »):

« […] let’s be realistic : the basis of TF1 job, is to help Coca-Cola, for instance, to sell its product. But to make the advertisement message perceived, the brain of the spectator has to be available. The vocation of our broadcasts is to make it available, so to say entertain it, to relax it to prepare it between two messages. What we sell to Coca-Cola is available brain time. […] »

« La culture, plus on la consomme, plus on a envie d’en consommer » – Le Monde.fr

« Françoise Benhamou est l’une des spécialistes mondiales de l’économie de la culture. Pour Le Monde.fr, elle revient en détails sur les différents concepts économiques évoqués dans la parabole des Tuileries.

Lors d’une intervention en octobre 2010 à Savigny-sur-Orge (Essonne), Nicolas Sarkozy a dit : « Quand on va au théâtre ou au concert étant jeune, on y va toute sa vie. Quand on créé l’habitude, quand on a créé le désir, on le décline sa vie durant. » Est-ce là une remarque qu’un économiste pourrait reprendre à son compte ?

Tout à fait. Quand les économistes ont commencé à réfléchir sur les consommations culturelles, ils ont fait le parallèle avec la drogue. On n’assouvit pas son désir d’héroïne en la consommant. Au contraire, le désir ne fait qu’augmenter à chaque dose. C’est à peu près la même chose avec la culture : plus on la consomme, plus on aime ça, et plus on a envie d’en consommer. En économie, on dit que l’utilité marginale de l’héroïne, comme celle des biens culturels, est croissante. Mais, de la même façon qu’il faut prendre une première dose d’héroïne pour avoir envie d’en prendre une seconde, il faut recevoir une première « dose » de culture pour, peu à peu, y prendre goût. C’est en partie ce qui justifie l’investissement public dans l’éducation culturelle : l’Etat cherche à créer chez les citoyens les moyens de développer leur goût pour la culture.

Dans les ouvrages spécialisés, on lit souvent que la consommation de biens culturels génère des « externalités positives » qui justifient les subventions publiques. Qu’entendent par là les économistes ?

L’idée d’externalité positive est assez simple. Prenons l’exemple du théâtre. Lorsque vous allez voir une pièce, vous en retirez une certaine satisfaction, qu’on appelle aussi utilité. Mettons qu’elle soit égale à 100. Les économistes expliquent que l’utilité totale créée par le fait que vous alliez au théâtre est en réalité supérieure à 100. Pourquoi ? Parce que vous allez peut-être parler de cette pièce avec des collègues, ou simplement être plus productif au travail grâce au plaisir que vous avez ressenti. En bref, vous serez un meilleur citoyen et cela va profiter à la société. Cet effet supplémentaire de votre consommation est une externalité positive. Mais en tant que consommateur, vous n’êtes prêt à payer que pour votre propre satisfaction, et non en fonction de la satisfaction que vous apportez à la collectivité. Il revient donc à l’Etat de subventionner la différence entre l’une et l’autre. Dans le cas contraire, le marché qui, laissé libre, ne peut subvenir qu’à la somme des demandes individuelles, produira moins de pièces de théâtre que ce dont la société a besoin.

Beaucoup d’études économiques justifient l’investissement culturel par l’idée que celui-ci a un effet multiplicateur, c’est à dire qu’il génère des retombées économiques supérieures aux sommes investies. Que pensez-vous de cet argument ?

L’effet multiplicateur de l’investissement culturel existe, mais il est souvent grossi, caricaturé et instrumentalisé, en particulier par des porteurs de projets : ils cherchent un financement, et s’adressent aux collectivités territoriales en arguant des retombées économiques de leur projet. Le plus souvent, les retombées sont surtout qualitatives. Personne ne remettra en cause, par exemple, que le musée Guggenheim de Bilbao a donné une excellente image à la ville. Mais ces aspects qualitatifs étant difficiles à mesurer, il arrive que le côté quantitatif soit volontairement exagéré.

L’investissement culturel ne produit donc pas nécessairement que des effets positifs.

Il peut même avoir des effets décevants ou ambivalents. Prenons l’exemple de villes italiennes muséifiées, telles que Rome ou Lucca. Les investissements massifs qui ont servi à les mettre en valeur ont certes profité aux visiteurs – qui peuvent à présent marcher dans des rues interdites à la circulation automobile –, ainsi qu’aux commerçants locaux. Mais ils ont aussi entraîné une hausse systématique des prix. Les populations moins fortunées ont dû quitter les centres villes pour habiter en périphérie, dans de grands ensembles souvent construits à la hâte. Les banlieues se sont enlaidies, et la qualité de vie de leurs habitants s’est dégradée. Donc, ce qu’on a fait de positif pour ces villes, on l’a en quelque sorte fait payer à leurs contours.

Propos recueillis par David Castello-Lopes

Source : Le Monde

« Therapy for rape victims with Turkish TV series » – Hürriyet Daily News

Serie "Fatmagül’ün Suçu Ne?"

« Turkish family doctor Hatice Yalçın, living in the U.S. state of Florida, provides therapy for rape victims by having them watch the Turkish TV series “Fatmagül’ün Suçu Ne?” (What is Fatmagül’s Fault?).

Yalçın’s purpose is to keep the women, between the ages of 19 and 32, from hating all men and plant the idea there are men in the world like the “Kerim” character in the series. Kerim, played by Engin Akyürek, is the main male character in the TV series. He is the husband of main female character, portrayed by Beren Saat, Fatmagül, who is a gang rape victim, and protects her.

When it was first aired, the series caused controversy among people claiming “it legitimates marriage to the rapist,” since Kerim was with the three rapists during the incident and did not prevent them from raping Fatmagül.

According to Yalçın, her patients feel better when they see Kerim. She works for a clinic which was established with the contributions of volunteers and focuses on the treatment of rape victims. She started doing this when her best friend’s daughter committed suicide after being raped. She has been working for the clinic for nine years and administering the “Fatmagül” therapy for 1.5 years.

The Kerim character has become a phenomenon among rape victims, who watch all the dialogues between Kerim and Fatmagül with Yalçın’s translation.

She said the real success was Akyürek, adding, “We want to host him at our clinic.”

The rape victims describe Kerim as an ideal man who does not exist in real life. »

Source : Hürriyet Daily News

« Turkey’s advertising sector sees 20% growth » – Sabah

Source : Sabah

« Turkey’s Association of Advertising Agencies has announced advertising investment figures for 2011 compiled with data from member media agencies.

Advertising spending increased by 20% last year, compared to the year prior, reaching a total of four billion, 320 million liras. This means that the Association of Advertising Agencies’ announcement released to the press at the start of 2011, in which they stated they were expecting to see 20 percent growth in the year, has in effect been realized.

Parallel with the activity in the markets, the 2010 figure of three billion, 613 million TL in total advertisement saw a 20 percent increase in 2011 with totals reaching four billion, 320 million TL. The distribution of investments is as follows: 56.66% in television, 24.25% in the press, 7.97% on the internet, 7.09 % outdoors, 2.80 percent in radio and 1.23 percent consisted of movie theater ads. Economic developments in 2011, the high growth speed and the liveliness in the markets has positively affected the advertising sector. After already experiencing 31 percent growth in 2010, the advertisement sector continues to follow an upward trend with 20 percent growth seen in 2011. The driving forces in the sector’s growth were the areas of communication, food, cosmetics and personal care items as well as home cleaning products.

Turkey’s Association of Advertising Agencies has high hopes for 2012. According to the announcement, expectations of advertisement sales for 2012 are at the 15 percentile range. »

Source : Sabah

« Discop Istanbul 2012 » – Turkish News

Source : Turkish News

« More attendees than in its first edition, a great demand for documentaries, co-production deals, animation, and a strong investment on local promotion, are some of the event’s highlights. With a significant increase in the number of attendees, the Ceylan Intercontinental in Turkey has closed its doors, thus ending a new edition of Discop Istanbul (February 28 – March 1).

After witnessing a significant increase in the number of guests present at the event, the Ceylan Intercontinental hotel in Turkey closed its doors, thus ending a new edition of Discop Istanbul, which took place on February 28 – March 1. Some of the main highlights -according to several attendees- were the search for co-production and adaptation deals for formats, animation and documentaries.

“One of the market’s strong suits is documentary sales,” said Jennifer from A&E Networks. “Nowadays, here you can see excellent TV movies, series and general dramas. But outside their primetimes, these networks program documentaries and educational programs, and that’s where our production quality surpasses what they do in these markets,” she added.

According to Xavier Aristimuño, SVP of new business sales and development at Telemundo Internacional, producing high quality fiction series entails “analyzing co-production deals that are convenient for both parties. This is why our presence in markets like this one has to do with our interest on both selling our products and identifying good projects.”

Meanwhile, Guido Baumhauer, head of distribution at Deutsche Welle, believes “the development of new platforms and the constant growth in content offers forces us to search for distribution deals that are just right for us. Given our structure, it’s not so much about producing locally with big budgets; it’s about finding windows that allow us to add value to the content we already have.”

According to Mathieu Béjot, representative of TV France International, as far as French companies focused on exporting content go, “this market has been fruitful for those which distribute documentaries and animation, since for the rest, competition with local products was quite tough.”

Yet, according to Katia Sol, head of international sales at AB International Distribution in France, “the potential within these markets has a lot to do with the type of content. For instance, our series Mafiosa -possibly the most internationally distributed French series- has been very accepted, which proves the potential these types of series have in these markets.”

THE PARTIES

Another one of the event’s highlights were definitely the amazing parties, especially the one organized by Global Agency at an antique Palace by the Bosphorus, where approximately 300 people enjoyed a lavish affair with great production and technical resources.

With not quite as much production yet still successful were the parties organized by ATV at the Arabesque restaurant and Kanal D at 360 in Istanbul. »

Source : Turkish News