« Günü-saati şaşmış diziler  » – Radikal

« Dizilerin kemik seyircilerini şaşkına çeviren ve sinirlendiren yayın saati değişiikliği uygulamasının bazı spekülasyonlara zemin hazırladığı düşünülemez mi?

Kanal D üç dizisinin (‘Yalan Dünya’, ‘Kayıp Şehir’ ve ‘Umutsuz Ev Kadınları’) yayın günüyle ilgili basın açıklaması yaptı önceki gün. Kanalın kurumsal iletişim departmanından Ömer Koçak, ağırlıklı olarak sosyal medyada bu dizilerin sadece günüyle değil akıbetiyle de ilgili spekülasyonlar ve bilgi kirliliğinin bu açıklamaya neden olduğunu söyledi.

Özellikle ‘Yalan Dünya’nın önce eski yayın gününe çekileceğine, sonra da yayından kaldırılacağına yönelik söylenti trafiği, bu ihtiyacı doğurmuş.

Fakat tüm bu söylentilere ve bilgi kirliliğine ortam oluşturan bir ‘altyapı’ da yok denemez. Kanal D, sezon başından beri oturmuş-yerleşikleşmiş çoğu dizisinin gün ve saatiyle oynadı. Bunun bir (ticari) rasyonalitesi vardır mutlaka. Ama bu dizilerin kemik seyircilerini şaşkına çeviren ve sinirlendiren bu uygulamanın o spekülasyonlara zemin hazırladığı da düşünülemez mi?

Ben en çok ‘Yalan Dünya’nın rahatsız edildiğini düşünüyorum. Kanımca günümüz Türkiye’sinin nabzını tuttuğu söylenebilecek çok başarılı bir komedi bu. Sunduğu ‘kültürel temsil’lerle tezlere konu olacak kapasitede. Üstelik her kesimden insana ulaşabilecek kıvraklık ve esneklikte olduğu için geçen sezon çok iyi reyting yakaladı. Cumaları PT1’de AB’de birinci, totalde üçüncü sıradaydı hep. Bu sene de yayına geç girdiği halde, üstelik ‘Huzur Sokağı’ gibi sansasyonel başlangıç yapan, dolayısıyla bir süre ortalama seyirci için çekici olacağı belli yeni rakip karşısında aynı mevkiyi korudu.

Fakat Kanal D, yerleşikleşmiş pazartesi dizisi ‘Arka Sokaklar’ı ‘Yalan Dünya’ ile takas etti. Hafta sonuna keyifli giriş imkanı sunan bir ‘sitkom’u hafta başına almak ne kadar uygun, o tartışılır. Ama açık olan, yeni gününde ‘Yalan Dünya’nın hem total hem de AB’de an itibarıyla önceki gününde olduğundan daha gerilere düştüğü. İş daha çok pazartesileri ‘O Ses Türkiye’ ve ‘Karadayı’ karşısında formsuz görünen ‘Arka Sokaklar’a yaradı sanki. » […]

Yazar : Tayfun Atay
Source : Radikal

« Yerli TV dizileri homofobik mi?  » – Radikal

Source : Radikal

« Özgün yerli dizilerde komik olmayan, seks işçiliği yapmayan herhangi bir eşcinsel ya da trans karaktere rastlamak mucizeyle eşdeğer. Dahası uyarlamalardaki eşcinsel karakterleri de heteroseksüel bireyler haline getiriyoruz. Söz sektörün taraflarında…

Türk dizilerinde neden hiç sıradan, gerçek hayatın içinden LGBT (Lezbiyen, gey, biseksüel, trans) karakter görmeyiz? Seks işçiliği yapmayan bir trans, gey bir gazeteci, lezbiyen bir iş kadını diyelim ya da biseksüel bir mühendis… Sorunun yanıtını biliyorum elbette. Ama bu da cevabını bildiğimiz soruların peşine düşmeye mani değil elbette… Memleketin ‘ahlakını’ nizama sokmakla görevli ‘gizli el’ üzerimizde olduğu sürece pek bir şeyin değişmeyeceğini bile bile sorayım istedim.

Öyle bir hal ki; uyarlama dizilerde bile eşcinsel karakterler itinayla yok ediliyor. Bu sezon bir trans karaktere layıkıyla yer veren ‘Kayıp Şehir’ dizisinin senaryo danışmanı Tuğrul Eryılmaz’ın deyişiyle, “Uyarladığımız dizilerdeki karakterleri bile balık kılçığı temizler gibi temizliyoruz!”

Akla ilk gelen örneklerden biri; ‘Umutsuz Ev Kadınları.’ Dizinin orijinali ‘Desperate Housewives’ta Bree’nin genç oğlunun eşcinsel olduğunu görürüz. Lakin dizi bize uyarlanırken Berrin’in (Bree) oğlu heteroseksüel oluverdi. Kanal D’de yayımlanmaya başlayan, ‘Revenge’ uyarlaması ‘İntikam’ın orijinalinde biseksüel olan –ki bu durum birkaç bölüm boyunca kilit öneme sahip- Hakan Eren (Nolan Ross) karakteri, bizde heteroseksüel bir erkek olarak karşımızda.

TV dizisi tarihimizden elimizdeki neredeyse tek düzgün örnek, ‘Bir İstanbul Masalı’nın Zekeriya’sı. Emre Karayel’in canlandırdığı karakter bir işadamıydı ve biz ilerleyen bölümlerde Zekeriya’nın gey olduğunu öğrenecektik. Daha yakın bir vakitte ‘Kılıç Günü’ adlı dizide aynı yatakta iki erkeği gördükten sonra kopartılan fırtına ise unutulmazlar arasında. En fenası da yapımcı Osman Sınav’ın ‘savunmasıydı’: “Kimsenin cesaret edemediği şeyleri göstermeye çalışıyoruz. Ahlaksızlık propagandası yapmıyor, aksine o tip insanların profilini sergiliyoruz. Bu kişiler ve ahlaksızlıklarını gösterebilmek için ahlak sınırları dışına çıkmadan bir şeyler yapmak zorundayız.”

ABD’de Hakarete Karşı Gey ve Lezbiyen Birliği’nin (GLAAD) televizyondaki cinsiyet ve etnik çeşitliliği inceleyen raporu, ülkedeki dizilerdeki LGBT karakter sayısının bu sezon 111 ile rekor kırdığını söylüyordu. GLAAD Başkanı Herndon Graddick, artan sayının toplumun gey ve lezbiyenleri algılayışındaki kültürel değişimi yansıttığı yorumunu yapıyordu.

Genel ahlakı gözeten ‘gizli el’i, başı RTÜK olmak üzere TV kanalları, yapmcılar, senaristler, oyuncular ve tabii basından oluşan bir gövdeye bağlasak, kimse itiraz etmez sanırım. Sektörün taraflarına, yazının başındaki soruyu sordum… « […]

Source : Radikal

« Turkey ranks 20th in Monocle’s Soft Power Survey  » – Today’s Zaman

« Continuing its steady rise, Turkey for the first time has broken into the top 20 of Monocle magazine’s annual Soft Power Survey rankings.

According to Monocle, Turkey made the top 20 thanks to the popularity of its soap operas across Europe and the Middle East and the bold new routes added by Turkish Airlines.

Coined by a Harvard academic in 1990, the term “soft power” describes how states use attraction and persuasion, rather than coercion or payment, to change behavior.

Monocle magazine’s annual « Global Soft Power » survey ranks nations according to their politics, diplomatic infrastructure, cultural output, capacity for education and appeal to business rather than their financial and military power. » […]

Source : Today’s Zaman

« Turkish PM talks Ottoman Empire, slams Turkish TV show  » – Hürriyet Daily News

PM R.T. Erdogan. AA photo. Source : Hürriyet Daily News

« Turkey should follow in its ancestors’ footsteps and go everywhere they have travelled to, the Turkish prime minister said during the opening ceremony of Kütahya Zafer Airport on Nov.25.

“We move with the minds of our Dumlupınar martyrs,” Prime Minister Recep Tayyip Erdoğan said. “We move with the spirit that founded the Ottoman Empire.”

Erdoğan then criticized the opposition for asking “what [Turkey] was doing in Gaza, Syria and Sudan.”

“We must go everywhere our ancestors have been,” Erdoğan said. “We can not take [Atatürk’s philosophy of] peace at home, peace in the world as passivity.”

“We have no eyes on any country’s land,” Erdoğan said. “We want stability in the region as much as we want stability in our homeland. We always side with dialogue to solve problems, but if there is a threat against our country then we will not refrain from taking the necessary precautions. We will not remain silent.”

PM slams Ottoman TV show

In the same speech Erdoğan also dished out heavy criticism on the hit Turkish TV series, “Muhteşem Yüzyıl,” (The Magnificent Century) for its portrayal of the Ottoman ruler Süleyman.

“We alerted the authorities on this and we wait for judicial decision on it,” Erdoğan said. “Those who toy with these values should be taught a lesson within the premises of law.”

Muhteşem Yüzyıl is a popular TV show airing in Turkey and abroad, which follows the lives of the Ottoman ruler Süleyman and his love Hürrem Sultan. The show focuses more on Süleyman’s personal life and palace life, portraying characters from the harem, as well as from the royal family. « 

Source : Hürriyet Daily News

« Works continue to give TV series to foreigners for free  » – Hürriyet Daily News

« Following a decision taken by from the Culture and Tourism Ministry, Turkish T.V. series’ will start to be aired in a number of countries free of charge. Vice Culture and Tourism Minister Abdurrahman Arıcı has announced that Turkish series’ will be aired abroad with the support of the ministry, in the interest of promoting Turkey in foreign countries.

“With T.V. series’ we can enter every house and spread the influence of Turkish culture,” he said, adding that tourists coming from Middle Eastern countries often visited the venues where T.V. shows were shot.

Turkey has signed deals with seven companies that market T.V. series, films and documentaries to the world, Arıcı said, speaking at the October meeting of the Skal Antalya Club.

According to an article in daily Radikal, while Turkey’s T.V. exports currently amount to a total of $60 million, and the aim is to increase this amount to $100 million. “Magnificent Century” (Muhteşem Yüzyıl) is among the most popular, and the ministry would particularly like to air this series in Kyrgyzstan, said Arıcı.

The importance of industry

At the same meeting, Istanbul Chamber of Commerce board member İsrafil Kuralay said the industry had reached a very important position.

The Daily News has previously reported that Greek audiences in particular have learned a number of Turkish words thanks to the series that are aired in their country. Turkish series such as “Magnificent Century,” “Sıla,” “Asi,” “Acı Hayat” (Bitter Life), “Deniz Yıldızı” (Starfish) and “Lale Devri” (Tulip Age) are among those being shown in Greece, and Greek people have thus started to pick up simple words and phrases in Turkish such as “Hello,” “How are you?” and “My dear.”

“Magnificent Century” is being aired in Greece on OBN, one of the most watched stations in the country, under the title “Süleyman Velicanstveni” (Süleyman the Magnificent). It was also the highest rated T.V. series in Bosnia Herzegovina on its first day of broadcast. »

Source : Hürriyet Daily News

« Greeks learn Turkish by watching TV series » – Hürriyet Daily News

Greek television audiences especially enjoy ‘Magnificent Century.’ The famous series is broadcast in Greece under the title ‘The Magnificent Suleiman.’
. Source : Hürriyet

« Turkish television series that are broadcast in different countries are raising interest in Turkish language abroad. While Turkish TV series face many criticisms, they are also boosting interest in Turkish culture and language.

Greek audiences, in particular, have learned a number of Turkish words thanks to the series that are aired in their country. Turkish series such as “Muhteşem Yüzyıl” (Magnificent Century), “Sıla,” “Asi,” “Acı Hayat” (Bitter Life), “Deniz Yıldızı” (Starfish) and “Lale Devri” (Tulip Age) are among those shown in Greece, and Greek people have learned simple words in Turkish from them, such as “Hello,” “How are you?,” “My dear,” and also words like “Okay.”

Audience love Turkish actors

Greek television audiences especially enjoy “Magnificent Century.” The series is broadcast in Greece under the title “The Magnificent Suleiman.” Greek audiences love Turkish actors such as Kenan İmirzalıoğlu, Kıvanç Tatlıtuğ and Beren Saat. Greeks generally say that they do not see very many differences between themselves and Turkish people. They also say the Turkish TV series remind them of family life in their own society.

Greek people learn Turkish words from watching such TV series as “Magnificent Century,” “Asi” and “Sıla,” Kostantina Ilia, the owner of a small restaurant in Athens’ Sintagma Square, told Anatolia news agency.

“I do not know if I will be able to visit Turkey, but I would like to visit the country or take lessons to learn more Turkish words,” she said. “I think all of the actors in Turkish series are very talented,” she said, adding that İmirzalıoğlu is especially popular.

Golden Dawn party leader Nikos Mihaloliakos has some negative ideas about Turkish series, but all Greeks do not agree with his views, Ilia said.

“Turkish series depict strong family relationships,” said Klea Vakifli, working in a café that sells Turkish desserts. “Magnificent Century” and “Sıla” are the Turkish series most watched by Greek viewers, Vakifli said. »

Source : Hürriyet Daily News

« Comedy show satirizes TV series sector » – Hürriyet Daily News

Murat Cemcir (L) and Ahmet Kural (M) worked at the TV show ‘Ramazan Güzeldir, which is currently aired on TRT Arabic channel. In addition to trio’s currentl show on TRT called ‘İşler Güçler,’ Sadi Celil Cengiz (R) is acting a part at TRT’s ‘Leyla ile Mecnun,’ which is also broadcast on TRT Arabic as well.. Source : Hürriyet Daily News

By Tuba Parlak

« Comedy show ‘İşler Güçler’ sheds light on the TV industry, providing viewers with a peek at the reality behind the screen. The show is aired on Star TV every Thursday and has been an immediate success

Turkish TV series are widely appreciated at home and in neighboring countries, but audiences know little about the increasingly brutal nature of the TV show sector. A comedy series called “İşler Güçler,” however, is shedding light on the industry, providing viewers with a peek at the ugly reality behind the screen.

“We wanted to make a comedy out of what we or our friends have experienced in this sector and turn it into a satire of the whole TV show production system. It has worked very well so far,” said Selçuk Aydemir, the writer and director of the show, which became an immediate success after the airing of its first episode earlier in July on Star TV.

The lead characters, Ahmet Kural, Murat Cemcir and Sadi Celil Cengiz, perform in the show with their real names and their real career stories. “İşler Güçler” is aired on Star TV every Thursday, and the ratings have pleased the filmmakers. The general audience response, according to social media, has also been very positive, and it is more than likely that the show, which started as a summer series, will continue the next season.

“We are presenting a caricaturized version of our own career stories through which we are also making fun of ourselves, which is necessary for many reasons. First, if we told the audience what we have really gone through without any comical effects, they would not be able to watch the show without bursting out into hysterical tears,” said Kural, laughing before revealing the main reason, which was to sustain realism. “Had we started by criticizing the sector as fictional characters, it would have alienated the viewer in the long run because it would give them the false impression that we were out of this vicious circle. And unfortunately that is not true,” Kural said.

Dealing a death blow to Rambo

“İşler Güçler” takes its name from a colloquial phrase used to denote a hectic work schedule that is often not as busy as the speaker would have his listener believe. The title refers to the employment conditions in the sector, where the miscalculations of supply and demand might lead to the ruin of acting careers. An explosion in domestic and foreign demand for Turkish TV dramas has produced increased supply. In the last five years, Turkish TV viewers have been subjected to hundreds of new productions which repeatedly deal with the same topics and liberally employ recurrent themes with little imaginative effort due to confidence in their star casts.

Early critics of the abundant supply went to the trouble of counting the number of shows on domestic TV channels for one whole season, reaching three-digit numbers. The same critics complained about the declining cinematographic qualities as a result of pressing weekly schedules, which stemmed from the amount of competition. “In the U.S., a 22-minute comedy is shot within 28 days. In Turkey, we are urged to shoot a 100-minute episode in six days,” said Cemcir.

The story for “İşler Güçler” developed out of a documentary project director Aydemir was writing to cast the same three actors.

“I was planning a documentary series called ‘Meslek Hikayeleri’ [Professional Stories], in which we would pick three professions each week and interview a few people in that profession. I was also writing funny parts to connect each interview, because I wanted the documentary to have a degree of humor. In the long run, the project turned into the script for ‘İşler Güçler.’”

The show’s plot is the career story of three actors who get hired by an extremely unprofessional producer for the making of a documentary titled “Professional Stories.” As the three characters strive to do their job properly, despite a lack of funds and professional conditions, the show’s plot changes into a funny employment story about the TV business. The fictional documentary is of such desperately low quality that it never gets an airing, and the channel – which is named after the real broadcaster of the TV show, namely Star TV – repeatedly airs Sylvester Stallone’s “Rambo” films in its place.

“In this episode, we’re getting our revenge on Rambo,” Aydemir said. In last week’s episode, the show opened with the opening scene of “Rambo 4” as a joke to the audience, and the full film followed the airing of the show. On being asked whether this yielded any copyright infringement issues, Aydemir said he had asked for the necessary permission.

Breaking free of the vicious circle

These four people have previously collaborated on a few TV shows, none of which continued past the middle of their first season. Aydemir and Cengiz know each other from a web portal where they used to upload their short films during their amateur years. They meet with Cemcir coincidentally while they were shooting “Kurban” (Sacrifice), which was later aired as a four-episode mini-series on state-run TRT during the Kurban Bayram Holiday.

Kural and Cemcir’s story is as funny as it can get. “While I was shooting ‘Gazi’ [Veteran] for ATV in 2007, [Cemcir] joined us as a guest actor. But we did not meet during filming because we never shared a scene. He played in only four episodes and then the show was withdrawn from the screen after the airing of the 19th episode,” Kural said.

Cemcir picked up telling the story of the duo’s collaborations where his friend left off. “In 2008, I started to work on another show called ‘Bir Bulut Olsam’ [If only I was a cloud] and [Kural] joined us as a guest actor. After the 16th episode was aired the channel cancelled the show,” Cemcir said.

The duo also shared the lead role in Aydemir’s 2011 movie “Çalgı Çengi.” That same year, Cengiz joined the trio in the shooting of another TV show titled “Üsküdar’a Giderken,” which was named after a Turkish classical music song, broadcast by Kanal D until only the 14th episode.

“While the shooting of the show continued I was offered a part on another show and to be able to do both of these [shows] I had to resign from my post as a civil servant. On the day my resignation was confirmed, I was told the show was being cancelled from the screen and the other project was cancelled before even being broadcast.” This chain of misfortune is the main inspiration behind their current project and where the plot derives its humor from. It is certain that with their final project they have broken free of the vicious circle. »

Source : Hürriyet Daily News

« Kirli Oyunlar: TRT’den ‘yeni Osmanlı’ dizisi » – Sol

Source : Sol

« TRT, V. Murat döneminin konu edildiği “Kirli Oyunlar” başlıklı yeni bir dizinin yayınına başlanılacağını duyurdu. Ramazanda başlayacak “yeni Osmanlı” dizisinde darbeci paşalardan, masonlara ne ararsanız var.

TRT, ramazanda Kirli Oyunlar adlı yeni bir dizinin yayınına başlanacağını duyurdu. V. Murat dönemini anlatacağı açıklanan “yeni Osmanlı” dizisinin ilk bölümünün fragmanı yayınlandı.

Dizinin tanıtımının yapıldığı www.kirlioyunlar.org adlı internet sitesinde “yeni Osmanlı” dizisi hakkında şu bilgiler veriliyor (anlatım bozuklukları sitede yer alan tanıtım yazısının orijinalinden kaynaklanmaktadır):

Kirli oyunlar dizisi Osmanlı imparatorluğunun son zamanlarındaki hesaplaşmaları anlatıyor. Dizimizde 5. Murat devri konu alınıyor. 5. Murat’ın en çok konuşulan olayları ele alınıyor. Masonluk sahnesi, aklını yitirme noktasına gelişi, cuntanın Abdülaziz Sultanı öldürmeleri ve bunların en önemlisi olan Yıldız Mahkemeleri’nin başlıca anlatılacağı konular arasında olduğu gelen bilgiler arasında. Daha fazlası için bizden ayrılmayın. » […]

Source : Sol

« Turkish stars Tatlıtuğ and Öden visit Dubai » – Hürriyet Daily News

Kıvanç Tatlıtuğ. Hürriyet Photo

« Kıvanç Tatlıtuğ and Songül Öden, leading actors of the series titled “Noor,” are visiting Dubai to promote the Istanbul Shopping Fest, which will take place between July 9 and 29 this year. This year’s festival will be the second ever festival.

Speaking at a press conference, manager Füsun Sönmez introduced the festival. Tatlıtuğ said he had been visiting Dubai for many years, and added that he was very happy to see the interest in Turkish soap operas in Dubai and the wider Middle East.

Tatlıtuğ said he was proud to present Turkey and was very happy to contribute to the representation of Turkey in other countries as an actor.

He added that he had received a number of film proposals from the Middle East and said, “if the scenario is good, I would like to play in one of the projects.”

Öden agreed that it was very important to see the interest in Turkish series’ in other countries, and said that it helped to keep the relations between two cultures. “We would like to be in front of the audience with better projects. I would like to be a part of an Arabic project.

”The presentation in Dubai was the first stop on the festival’s promotional tour, before the team travels on to Baku in Azerbaijan and Belgrade in Serbia. »

Source : Hürriyet Daily News

« Festival to remember Meral Okay » – Hürriyet Daily News

Meral Okay, who died of cancer in April 9, will be commemorated at the event. Source: Hürriyet

« The 15th Flying Broom International Women’s Film Festival started May 10 with a commemoration ceremony for Meral Okay, who died of cancer last month. The festival will continue until May 17 in Ankara.

The festival, supported by the Culture and Tourism Ministry, the Prime Ministry’s Promotional Fund and the European Union, was launched yesterday at a press conference. The Flying Broom Festival has been organized since 2003 in memory of Bilge Olgaç, one of the most creative directors in Turkish cinema history. This year’s Success Awards will be presented to actresses Füsun Demirel and Serra Yılmaz, and the Honorary Award will be given to actress Hale Soygazi.

The festival will present a selection of work from one of the leading names in Moroccan cinema, Farida Benlyazid, curated by Turkish film critic Sevin Okyay, and will bring together films from female directors from all around the world, with the goal of making the work of women filmmakers visible. « 

Source : Hürriyet Daily News

« Investments pour in for entertainment » – Sabah

« Turkey, a rising star in terms of global growth, is now becoming a regular stop for international stars such as Madonna and Zaz. Foreign investors are now racing to invest in Turkey’s four billion dollar entertainment sector.With international record growth and per capita annual income rising to over 10,000 dollars, Turkey is now drawing in international investors who are testing the waters in the entertainment sector.

With the increasing prosperity in the economy, international stars that used to pass on including Turkey in their international tours are now lining up to schedule concerts. This year a number of famous performers such as Madonna, Zaz, Pitbull and Leonard Cohen will be playing for their fans in Turkey. The country, which was not a favorite destination in the past, now has nearly 100 shows listed every day. With 36,000 events organized annually, Turkey’s entertainment market is expected to rake in over four billion dollars this year.

A 400 MILLION DOLLAR INCREASE

According to Turkey’s Entertainment Sector Association (TESDER) Chairman of the Board Fırat Kasapoğlu, every year the sector’s revenue is on a rise. According to the figures, in 2010 the sector brought in 3.2 billion dollars, in 2011 3.6 billion dollars. At present the entertainment sector is expected to bring in four billion dollars in revenue. However, Kasapoğlu explains that the sector has a significant amount of growth potential. Drawing on the United States as an example, Kasapoğlu says that including media spending, the entertainment sector is worth 458 billion dollars. The entertainment sector in Japan is worth 169 billion dollars, while in both China and Japan the sector has reached 90 billion dollars.

A CENTER OF ATTRACTION

Paralleled with the increase in revenue obtained by the entertainment sector, internationally acclaimed event operators are now scheduling in Turkey for their tours. Kasapoğlu explains that foreigners are now aware of Turkey’s potential and are showing increased interest in Turkey. « Turkey has become a center of attraction in the entertainment sector, » says Kasapoğlu who explains that there has been an increase in the number of foreign events held in Turkey which brings with it a serious tourism potential. « Tourists come from neighboring countries in order to watch foreign music groups perform. Tourists came from Russia to see Tarkan for example. But also foreignners flock to Turkey to see performances by U2, Bon Jovi and Madonna. They also come to Turkey from Arab nations, » says Kasapoğlu. » […]

Source : Sabah

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. » […]


« 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

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