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

« 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

« Murdoch to invest in Turkish media » – Sabah

« Prime Minister Tayyip Erdoğan met with Rupert Murdoch, the owner of the United States media giant News Corp. during his heavy schedule yesterday.

During the meeting which lasted an hour and ten minutes, Murdoch shared with Erdoğan his intentions to invest in the nation and stated: « We want to expand our programs in Turkey. We see Turkey as an important country from a media standpoint. We hope to expand our investments here. » Murdoch was accompanied by former parliamentarian Engin Güner for the meeting.

Upon his arrival, Murdoch was carrying a book entitled, « The Empty Ouarter », which he later gave to Prime Minister Erdogan as a gift.

English writer John Bridger Philby wrote the book which describes the Rub ‘al Khali desert in Arabian peninsula. Philby was a British colonial intelligence officer during World War I, yet died a Muslim in Lebanon in 1960.

Prime Minister Erdoğan also welcomed Iraqi leader Ayad Allawi. Prior to Erdoğan’s arrival to the Prime Ministry, 20 security detail were on duty to search the area with dogs following a noise bomb that went off prior. »

Source : Sabah

« Turkish TV series gather at Istanbul fair » – Hürriyet Daily News

« The Turkish and regional television industry has gathered at the DISCOP Istanbul Television Broadcasting Fair, which kicked off Feb. 28.

The fair, taking place at Istanbul’s Ceylan Intercontinental Hotel, includes participants from 32 countries in the Middle East, Central Asia and North Africa that together boast more than 500 million viewers.

The first conference of the fair, which took place Feb. 28, was moderated by Nick Holdsworth, Variety Magazine’s East Europe and Middle Asia chief. The conference focused on the Silk Road and Middle Asia. The second conference will focus on a “Renaissance in Arab content,” discussing how Arab content can be successful abroad.

KanalD, the Samanyolu Broadcasting Group, Show TV, Turkish Radio & TV Corporation (TRT), WWE Turkey, ATV Broadcasting, Digiturk, Calinos Entertainment and ITV – Inter Medya are all presenting their series at the fair. The fair provides a platform for Global Agency, which has distributed series such as “İffet,” “Behzat Ç.,” “Kalbim 4 Mevsim” and “Firar” from Turkey’s private Star TV channel.

Global Agency, whose goal is to distribute the most watched series around the world, has sold “Muhteşem Yüzyıl” (The Magnificent Century) to 40 countries and is among the five fastest growing distribution companies in the world.

The fair is gathering 120 international content providers in Istanbul for presentations and discussions on TV formats, program packages, movie portfolios and more. Global Agency has been attending television broadcasting fairs around the world for the past eight years. The company will also present movie projects such as “Love in a different language” and “1,001 Nights” to international companies in addition to various competition formats. »

Source : Hürriyet Daily News

« Skyrocketing demand for soap operas beat satellites » – Hürriyet Daily News

Cast members from the hit show Muhteşem Yüzyıl (The Magnificent Century) Hürriyet photo

« Turkish television and cinema representatives have requested an increase in both domestic and international satellite capacity to meet skyrocketing demand, according to the general manager of Türksat Satellite Communications and Cable TV Management.

Türksat, Turkey’s current satellite infrastructure provider, does not have the necessary capacity to meet the needs of the booming Turkish television and cinema sector’s domestic and international satellite requirements, Özkan Dalbay said.

New satellites needed. The provider’s new 4A and 4B satellites, which are slated to soon go into service, will help ease some of the demand, he said, but added that even they would be insufficient in meeting demand at the current rate of development.

Dalbay also said Turkey’s plans to create its own domestic satellite were continuing in tandem with the 4A and 4B satellite project and that eight Japanese satellite production specialists were currently working on the endeavor.

“If we don’t face any problems, we plan to have a satellite production center in place by the end of 2013. Our domestic communications satellite project will also be completed by that date and production will begin at the facility,” said Dalbay, adding that Turkey would have its first domestically designed and produced satellite communications system in place by 2015 barring any glitches. »

Source : Hürriyet Daily News

« Turkey takes off » – C21 Media


by Andrew Mc Donald

« Turkey’s expanding TV business is attracting plenty of international attention thanks to the strength of its drama programming and advertising market. Andrew McDonald reports, as Discop Istanbul gets into gear.

Turkey’s TV content market has evolved dramatically in the past decade and a half. Once home to a high number of foreign imports, including Latin American telenovelas, Turkey has since developed a rich drama industry of its own that now accounts for the bulk of the main terrestrial broadcasters’ primetime output.

Though international unscripted formats such as Who Wants to be a Millionaire? and Pop Idol have found homes in Turkish schedules, it is big-budget, weekly home-grown dramas that are demanding the most investment and winning the biggest ratings.

They are also gaining the attention of schedulers outside the country, thanks to their high production values. Turkish content is already notching up sales in Eastern Europe, the Baltic states, the Middle East and parts of Asia, and is even starting to find audiences further afield.

“Turkey is not a great market for formats,” admits Izzet Pinto, founder and president of Turkish distribution house Global Agency. “Formats were doing very well, but now most are being commissioned for just one season and the reason is that in primetime people prefer to watch drama series. Therefore, local scripted productions dominate.”

Ziyad Varol, deputy content sales manager at ATV, one of Turkey’s biggest broadcasters, agrees. “In terms of primetime slots, drama is definitely the number one content type. If you look at ATV’s programmes you’ll see that in seven days you will definitely have scripted TV series on five or six days, mainly dramas but also sitcoms,” he says. The channel’s scheduling is done with a close eye on what rival broadcasters are doing on any given day – particularly Turkey’s number one terrestrial network Kanal D, he adds. 

Even Who Wants to be a Millionaire?, which Varol claims has been “doing really well” for ATV over the past six months, only finds a home in the ‘primetime-3’ slot of 23.00. Earlier primetime-1 and primetime-2 slots – 20.00-22.00 and 22.00-23.00 respectively – are given over to scripted content. Is there much room for unscripted formats in Turkey?

“Gameshows and other entertainment shows get limited space on Turkish TV, so we can’t say the situation is better at the moment; it has always been like that,” says Idil Belli, general manager of Sera Films. The Turkish distributor sells format rights to Who Wants to be a Millionaire? and Dragons’ Den in the country, thanks to a local distribution pact with Sony Pictures Television.

While Millionaire has found a home on ATV, Dragons’ Den airs on Bloomberg HT, a niche Turkish news channel created in 2010 thanks to a deal between local station Kanal1 and Bloomberg. Though the network airs another Sera-distributed gameshow, called Think, in an evening slot, Bloomberg HT head of acquisitions Aylin Amber admits these shows cannot challenge Turkey’s mainstream drama output.

“Even though it’s the minority of the audience, there are a lot of people who prefer to watch a gameshow instead of watching a local series, so it’s a perfect alternative. But we definitely can’t compete with them, because from the time we were measured, I know that 80% or 90% of the audience is watching local series,” she says.

Ansi Elgoz, MD of Endemol Turkey, also concedes that “broadcasters have very limited space for non-scripted formats.” Endemol Turkey was set up in 2008 to produce local versions of formats such as Total Wipeout, Fear Factor, The Money Drop and Deal or No Deal, and though Endemol does also deal internationally in drama output, even imported scripted formats have a hard time competing with home-grown shows, Elgoz says.

“At the moment, there are about 65 to 70 drama series this season on air in the Turkish TV landscape – a huge number. Of these, only one is adapted: Desperate Housewives. All the other scripted concepts are locally developed, so if you look at the ratio, adaptations in Turkey are always more difficult,” she says.

Though Turkey is not a closed shop when it comes to overseas drama, the popularity of home-sourced stories is clear. Kerim Emrah Turna, international sales and acquisitions specialist at Kanal D, says his channel’s version of Desperate Housewives is doing well in its Sunday 20.00 slot. However, the channel’s big project for this year is a locally developed drama called Kuzey Guney (North & South), which airs in the equivalent Wednesday night slot.

Elsewhere, Endemol Turkey partnered with Argentinian network Telefe to adapt primetime daily telenovela The Successful Mr & Mrs Pells as a weekly drama for the Kanal D. Yet despite other adaptations of the format in Poland and Chile, the show, called Mükemmel Çift (Perfect Couple) in Turkey, didn’t make it past one season. Similarly, ATV’s remake of Chilean network TVN’s popular telenovela Donde Esta Elisa? ended last year after one 26-episode run.

It is yet to be seen how well Fox TV’s new scripted sitcom Young Enough will do. The Turkish channel, which was rebranded from TGRT after News Corp acquired it in 2006, bought the remake rights to the show from Sera Films, which licensed it from Mediaset. In Italy, the show is known as Casa Vianello.

The reason why locally developed projects seem to fare so much better is partly cultural and partly down to the practicalities of making a series for the distinct Turkish market. Global Agency’s Pinto notes that due to Turkish regulations, nudity and sex are not shown, which made the country’s version of Big Brother markedly different from some of the format’s racier European versions, and would effectively rule out an adaptation of popular Western shows like Sex & the City. 

In addition, Turkish primetime dramas tend to run to 90 or 100 minutes per episode, while US dramas average out at around 45 minutes, making it difficult to adapt a series without substantial re-writes.

“You take the concept but to make it longer you have to write another episode. Or you have to put two episodes together, which doesn’t make sense, because an episode has its own development, climax point and conclusion. So it’s very difficult to expand a 45-minute concept into a 90-minute drama per week. Instead of trying to adapt it, you might as well re-write it,” says Elagoz.

Turna says the reason why Turkey tends towards longer episodes is to do with regulations that limit ad breaks to 12 minutes in every hour. This is in line with European legislation, which Turkey has adopted voluntarily despite not being a part of the EU. “To get a bigger part of the advertisement pie, channels are demanding 90-minute episodes from the producers in order to have a couple more primetime advertisement slots during the programme,” he says.

By the same logic, you might then expect Turkish dramas to be equally hard to sell abroad due to episode length. Yet this does not seem to be the case. Indeed, ad gains along with rivalry in the Turkish market are helping to drive up production values, which in turn is making Turkish drama more appealing to international buyers.

“Since there’s huge competition between the Turkish broadcasters, they invest more and more in the production quality in order to get a bigger slice of the advertisement market in Turkey. So that’s why the production quality is increasing day-to-day in Turkey. We believe that in the very near future, we will cover nearly all the world with these productions,” says Can Okan, president, CEO and co-founder of Istanbul-based distributor ITV Inter Medya. 

Okan claims that in the past couple of years production budgets in Turkey have doubled, with some period dramas costing US$750,000 per episode. Over at Kanal D, Turna agrees: “We are spending incredible amounts of money when we begin the shows. For example, for Öyle Bir Geçer Zaman ki (Time Goes By), just for the first two episodes we spent more than €1m [US$1.3m]. But the market is very competitive.”

Time Goes By is now in its second season and hit a peak 71% share during one airing last year. It’s a key title for Kanal D’s sales division, while Turna says that in many territories, 90-minute Turkish drama episodes are shown in their entirety or stripped as two 45-minute episodes 

“In Eastern Europe – for example, Greece, Bulgaria, Macedonia, Serbia, Croatia, the Czech Republic, Hungary, Bosnia and Herzegovina, Albania, Kosovo, Slovakia – all of these countries are airing lots of Turkish drama series,” he says, adding that Kanal D drama Gümüs hit an episode peak of 85 million Arab viewers after it was sold to MBC in the Middle East – a record for the region, he says.

Elsewhere, ATV drama Ezel has already been distributed to more than 40 countries and was the most watched programme in Hungary last year, according to Varol. Remake rights to the show have also been sold into a handful of countries, including Belgium, with talks underway with a US broadcaster.

“This proves that Turkish drama is also suitable for other territories,” says Varol. “If you look at the territories where we have mostly sold our titles, they are in the Middle East, the Balkans and, to some extent, Eastern Europe – ex-Soviet countries as well – and we have started to expand our presence to African territories.”

Executives representing ITV Inter Medya, Global Agency and Turkish broadcaster TRT were at Natpe in Miami in January to try to open up sales into Latin America – reversing what was once an established trend in the Turkish market.

“Telenovelas were incredibly popular 10 or 15 years ago. When I was younger our whole family used to watch Latin telenovelas during daytime and also in some primetime slots. At that time we only had one or two Turkish drama series, but for a very long time we haven’t aired any telenovelas on the mainstream Turkish TV channels,” says Turna.

Pinto, who is currently shopping a number of Turkish daytime entertainment formats along with drama series such as Magnificent Century and 1001 Nights, adds that these days the stories being told by Turkish drama series are “absolutely different” from Lat Am novelas.

“There is huge television activity in Turkey,” adds Patrick Jucaud-Zuchowicki, general manager of Basic Lead and the man behind Discop Istanbul, which has its second outing this week. “Over the past three years we’ve seen Turkish drama producers expand their reach beyond the Turkish marketplace. They sell drama series into the Middle East, into Central Asia, the Balkans, even into Latin America, so Turkish content has a strong attraction and that is something that has helped us establish our market.”

The success of Turkish drama is also helping to reshape the domestic market and stimulate competition. After setting up shop in Turkey four years ago, Endemol recently appointed ATV’s former head of drama Hulya Vural to head a new drama division, to create its own locally developed scripted content. 

The major broadcasters are also stepping up their in-house production efforts, increasing competition with established Turkish producers like Ay Yapim. At ATV, Varol explains that though the network makes magazine shows and some studio content in-house, it doesn’t have a drama production unit. However, he says it has plans to set up a production arm, probably in the next three to five years.

“We see the potential,” says Varol, claiming that to keep international rights to shows “you need to be very strong or you need to produce the content by yourself.”

Meanwhile, major Western players are also showing interest in the Turkish market, due to its impressive growth and promising forecasts in the TV advertising space – particularly against the backdrop of a wider European downturn and poor returns from many Eastern European markets.

Though the main five Turkish broadcasters, with the exception of Fox, are still owned by Turkish firms, Kanal D reportedly attracted interest from RTL, Time Warner, News Corp and investment group Texas Pacific Group when the network’s parent, Dogan Holding, sought advice on a possible sale in 2010. 

The same parties were also recently linked to ATV when it put itself up for sale at the beginning of the year, with the main terrestrial broadcasters a seemingly logical target for Western players hoping to break into this market, due to the concentration of ad revenues among these channels

“Turkish cable and satellite channels have a fundamental structural problem. We see an increasing audience share, but they are not able to monetise it because a lot of them they are fragmented and advertisers have relationships with the big broadcasters and get a fair amount of discounts there,” says IHS’s head of advertising research Daniel Knapp.

However, he believes the rewards that the Turkish market can yield for outside investors are clear. “Recent years have shown that the Turkish TV market is an opportunity too good to miss,” he says. “In 2010, the ad market grew by 40%. For 2011, we project it to grow by 22% in net terms, which is phenomenal. We don’t see this growth anywhere else.

“Whereas all the other markets are going to be fairly static, fairly low growth – in the UK going from €4bn in 2011 to €4.4bn in 2015 – Turkey will go from €1bn to €2bn in the same timeframe, so doubling the size of the TV ad market.” he adds, claiming that Turkey, along with Russia, will be the key European markets to watch over the next few years. »

Source : C21 Media

« TV fair readies to kick off next week » – Hürriyet Daily News

Behzat Ç, Turkish series, will be among the series, which will be presented to the 40 countries at the DISCOP fair. Global Agency company will be presenting the series. Source Hürriyet

« The Turkish television industry will welcome the DISCOP Istanbul Television Publishing and Fair between Feb. 28 and March 1.

The fair, which will take place at Istanbul Ceylan Intercontinental Hotel, covers 32 countries from the Middle East, Central Asia and North Africa that are together home to more than 500 million audiences.

The fair will also provide a platform for Global Agency, which has distributed series such as “İffet,” “Behzat Ç.,” “Kalbim 4 Mevsim” and “Firar” from Turkey’s private Star TV channel.

Global Agency, whose goal is to distribute the most watched series around the world, has previously sold “Muhteşem Yüzyıl” (The Magnificent Century) to 40 countries and is among the five fastest growing distribution companies in the world.

The fair will gather 120 international content providers in Istanbul for presentations and discussions on TV formats, program packages, movie portfolios and more.

Global Agency has been attending television broadcasting fairs around the world for the past eight years.

A new presentation from Turkish TV scene

Following its presentation of “Magnificent Century” to TV companies at last year’s DISCOP, Global Agency plans to present the series “Suskunlar” (Silent) at this year’s DISCOP, Chief Executive Officer İzzet Pinto said.

The company will also present movie projects such as “Love in a different language,” “1001 Nights” to international companies in addition to various competition formats. »

Source: Hürriyet Daily News

« Çalık: Turkey will grow by at least five percent » – Sabah

Source : Sabah

« Explaining that Turkey had one of the fastest growing economies in 2011, Çalık Holding Chairman of the Executive Board Ahmet Çalık, states, “Despite the uncertainties in Europe, this year the economy will still show at least five percent growth.”

Çalık Holding Chairman of the Executive Board Ahmet Çalık expressed that Turkey has now become a regional player due to its political stability, correct management and economic reforms. « Even in 2011, which was a difficult year for the world, Turkey is way above expectations and has become one of the limited numbers of fast growing economies. Despite the uncertainties of the global economy and especially in Europe, I think that Turkey will see at least four to five percent growth for 2012. » Çalık goes on to state that Turkey has decreased the single market risk and has opened into new markets. « The slow-down in Europe has been balanced by the strengthening of other markets. Meanwhile, the strong growth in our country and the increasing welfare has produced new opportunities, in addition to establishing a tolerance to the changes in the international market. Over the past ten years, Turkey continues to do the right things by continuously developing, and recognizing the risks and taking action. »

A 700 MILLION $ INVESTMENT

Ahmet Çalık also offered an assessment of Çalık Group’s objectives and stated, « We operate in 15 nations with over 20,000 employees. We have become exhausted by adapting to the special standards of each nation. We are used to crises and have developed resistance. If you are prepared then you will be able to handle the sunny days and the harsh winter conditions and you will know it is all temporary and will take precautions accordingly. »

Çalık also shared that in 2011; the holding saw a 20 percent increase in active growth and revenue increased by 50 percent and the company made 700 million dollars worth of investments. Ahmet Çalık went on to state, « With the exception of the big projects we currently have for this year, we also foresee making a 250 million dollar investment. »

WE WILL BE RETIRING OUR FIVE-YEAR BONDS AND WILL EMBARK ON NEW PROJECTS

Çalık goes on to state that the group has realized a total bond issue of 200 million dollars as well as fulfilled all commitments embarked on in their entirety. « In March, we will be retiring our five-year bond after which we will continue to look out for more projects. » This positive retirement and interest shows that if our group were to take out another bond, we would be able to obtain funds under much more suitable conditions. Even though there aren’t any plans as such at the moment, depending on the suitability to the conditions in the upcoming period, we could end up issuing a bond. »

Our projects contribute to urban renewal

Ahmet Çalık explained that they have begun working on the initial sales of Gap İnşaat’s Tarlabaşı Urban Renewal Project, while efforts to develop the Fener-Balat project continues, and states, « The first phase of the Metropol Istanbul project in Ataşehir has gone on sale. They have acquired significant interest and a nice sales graphics. Our Şehrizar Residents project in Üsküdar Burhaniye is an absolute gem with both its location and modern neighborhood concept. They will begin hosting their first residents at the end of the year. We are expecting to make over 500 million dollars in revenue from our projects which have already begun to sell. »

Proposals received by Turkuvaz contribute to our brand

Çalık explained that Turkuvaz Medya’s capital is growing and that both print and publishing quality has increased and stated that they have established a number of new brands. Çalık also revealed a series of sales details, explaining that according to the initial requests coming in for the brand they are seeing intense interest, Çalık states, « This represents our significant contribution to the brand. Of course the perception of Turkey that is developing abroad is also significant. » Ahmet Çalık also reminded that work on the Samsun-Ceyhan Petroleum Pipeline, the East Mediterranean Refinery and Petrochemical continue, while in addition to these projects, we also have electric and gas distribution companies as well as wind and HES projects available in our portfolio. »

Source : Sabah

Reports : RATEM

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SOME QUOTES FROM RATEM REPORT

Televizyon

– 2009 ylna göre toplam televizyon reklam yatrmlar içindeki dalmda 2010 ylnda bölgesel televizyon kanallar dnda tüm yayn lisans türleri alannda reklam girdisi art olmutur. Bir önceki yla göre televizyon lisans türlerinin tümünde ortalama % 43 bir art olmasna karn, bölgesel televizyon reklam yatrmlarnda % 66.92 gibi çok yüksek bir oranla düüyaanmtr.

– 24 ulusal televizyon 1 milyar 611 milyon TL’nin üzerinde bir reklam yatrmn paylarken, 15 bölgesel televizyon 2.36 milyon TL’lik bir pazar payn paylamakta ve yine 210 yerel televizyon kanal 8.73 milyon TL’lik bir reklam yatrmn almaktadr.

– Televizyon yayncl pazarnda ulusal kanallarn baskn bir etkinlii bulunmaktadr. 24 ulusal kanaln toplam televizyon reklam yatrmlar içindeki pay geçen yla göre yükselerek % 88.39’a ulamtr. Buna karlk 15 bölgesel ve 210 yerel yaynn toplam televizyon reklam pay 0.61’e gerilemitir. Bir önceki yl bu pay % 1.20 seviyesindeydi.

– Küresel televizyon reklam yatrmlar bakmndan ABD 50 milyar dolarn üzerinde ürettii gelirle dier ülkelerle kyaslanamayacak bir düzeye sahip bulunuyor. Almanya, Fransa, ngiltere ve talya gibi ülkeler 4 milyar ABD dolarnn üstünde reklam yatrmlaryla öne çkan Avrupa ülkeleri. Türkiye ise 932 milyon dolar televizyon reklam yatrmlarna sahip. Kii ba televizyon reklam yatrm bakmndan ABD, Japonya, Avustralya, talya gibi ülkeler öne çbarken, ngiltere, Fransa ve Almanya gibi ülkelerde 60 ABD dolarnn üstünde bir rakam olumakta, Türkiye’nin TV reklam yatrmlar kii bana 12.85 olarak gerçeklemektedir.

« Turkish soap operas topic of meeting with Arab officials » – Hürriyet Daily News

Period drama ‘Muhteşem Yüzyıl’ is one of the most popular productions in Turkey. (Source : Hürriyet)

« President Abdullah Gül said Turkish soap operas were the focal point of the meetings with officials of the United Arab Emirates (UAE), which broadcasts Turkish soaps on TV.

“They asked me what will happen at the end of the Turkish series,” Gül said, “and said their wives were always sitting in front of the televisions for the shows.”

Gül said it was important that another culture liked Turkish television series. Gül also said this was about having the same taste in cultural issues. Common cultural values and common history increase interest in the Turkish series, he said.

The Turkish president also met with Zayed University students. He said the students told him they all watched the Turkish series “Muhteşem Yüzyıl” (Magnificent Century).

The Turkish TV series “Muhteşem Yüzyıl,” which has become one of the most popular productions in Turkey, increasing people’s interest in Ottoman history, will begin to be broadcast throughout the world this month.

“Muhteşem Yüzyıl” was introduced to the world last year during the MIPTV Television Fair in Cannes. The series drew great interest from many international channels and will now be distributed in 40 countries, 22 of which are in the Middle East.

Turkey earned more than $60 million last year from exporting TV series. More than 100 Turkish TV series were watched in over 20 countries in 2011. »

Source: Hürriyet Daily News

 

« TPG, News Corp, Time Warner bid for Turkey’s Çalık media » – Today’s Zaman

Photo : Cihan. Source : Today's Zaman

« TPG Capital, News Corp and Time Warner have placed bids for the media assets of Turkey’s Çalık Holding, which also has interests in energy and finance, three sources close to the matter told Reuters on Monday.

« TPG, (News Corp’s Rupert) Murdoch and Time Warner placed bids. I know TPG is very aggressive, » said a source close to the deal, adding the submitted bids were around $1 billion, near the asking price.

He said the sale process could be completed in February.

Çalık bought ATV-Sabah for $1.1 billion in 2007 from the Savings, Deposits and Insurance Fund (TMSF). Çalık took on $750 million of bank debt in April 2008 to finance that acquisition. »

Source : Today’s Zaman

Reports : ISMMMO

SOME QUOTES FROM ISMMMO REPORTS : 

« Ekranlar canlı, ilgi büyük ama her üç diziden biri krize kurban gitti ve sektör yüzde 30 küçüldü. 2008 yılında 1 mil- yar TL’lik büyüklük konuşulurken 2010 Mayıs’ın da değer 700 milyon TL’ye geriledi ve 50 bin kişi işini kaybetti.

Son dönem görülen yüksek reytingler ve ilgiye rağmen, Türk dizi sektörünün global krizin etkilerini üzerinden tam ata- madığı ortaya çıktı. İstanbul Serbest Muhasebeci Mali Müşavirler Odası’nın yaptığı “Dizi Ekonomisi – Mayıs 2010” araştır- masına göre, sektörün tüm hareketliliğine rağmen yine İSMMMO’nun Eylül 2008 verilerine göre önemli oranda küçüldüğü ortaya çıktı.

İSMMMO’nun ‘Dizi Ekonomisi- Mayıs 2010’ araştırmasına göre; halen 7 ulusal kanalda, 42 yerli dizi yayınlanıyor. Oysa 2008 saptamalarına göre, 11 ulusal kanalda 63 yerli dizi yayınlanıyordu.

Araştırmada, yeni adı Bloomberg olan Kanal 1, Show Tv, Kanal 7 gibi birçok kanalın dizi yarışından koptuğu ortaya çıktı.

Küçülmenin maddi boyutlarını ise rakamlar net bir şekilde sergiliyor. Buna göre; 2005-2008 yıllarında adeta ‘patla- ma’ yaşayan dizi ekonomisi, İSMMMO’nun Eylül 2008’de yaptığı araştırmaya göre 1 milyar TL’lik bir ekonomik güce eriş- mişti. Ancak son yapılan araştırmaya göre, sektörün yüzde 30 oranında küçüldüğü ve dizi ekonomisinin 700 milyon TL’ye gerilediği ortaya çıktı. Kriz öncesinde sektörde çalışan sayısı 150 bin kişiyi bulurken, yaşanan küçülmeyle birlikte sektörde set işçisinden, senaristine, çaycısından, figüranına 50 bin kişinin de işini kaybettiği belirtiliyor. Dizi sektörünün 100 bin civa- rında istihdam sağladığı biliniyor.

Geçen yıl yaşanan krizle birlikte kanallar, yapımcı şirketlere ödedikleri ücretlerde yüzde 30 ila 50 oranında değişen indirimler yaptı. İşlerini kaybetmek istemeyen yapımcıların büyük çoğunluğu bunu kabul etti. Yapımcılar da aynı şeyi oyun- cular ve teknik ekipten talep edince sektördeki ücretler de ortalama yüzde 40 oranında düştü. Halen kriz öncesi seviyele- re gelinebilmiş değil. » […]

 

« Yerli diziler bu sezona da damgasını vuracak. 11 ulusal kanalda bu sezon 20’si yeni 63 yerli dizi yayınlanıyor. Reyting rekorları kıran dizilerin hem yapımcıları, hem de bu dizileri yayınlayan kanallar kazanıyor. İstanbul Serbest Muhasebeci Mali Müşavirler Odası’nın (İSMMMO) “Dizi Ekonomisi” araştırmasına göre, bölüm başına maliyetleri 100 ila 300 bin YTL arasında değişen diziler, reklam ve sponsorluk gelirleriyle birlikte yaklaşık 1 milyar YTL’lik bir ekonomi ortaya çıkarıyor. » […]

 

Cf. also : 

 

« Yahya Üzdiyen becomes chief executive of Doğan » – Hürriyet Daily News

Yahya Üzdiyen’s post as Doğan chief executive starts today. Source : Hürriyet

« Turkey’s Doğan Holding has appointed Yahya Üzdiyen as its new chief executive, according to a company statement to the Istanbul Stock Exchange yesterday.

Üzdiyen was already serving as the deputy chairman of the company.

Born in 1957, Üzdiyen graduated from the Middle East Technical University’s business administration department in 1980. Until 1996, he worked as an executive in various private sector companies. In 1997, he was transferred to Doğan Holding as strategy group chief. He had been serving as the deputy chairman since Jan. 18, 2011, according to the company statement. »

Source : Hürriyet Daily News