« 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

« Famous TV star Beren Saat, dream woman for Arab men » – Hürriyet Daily News

Beren aat is currently the most popular Turkish actress in the Arab world.

« The popularity of Turkish TV series is rising every day in Arabic-speaking countries, and Turkish actresses are often the main attraction in a series. Beren Saat, who plays the role of Bihter in “Aşk-ı Memnu” (Forbidden Love) and that of Fatmagül in “Fatmagül’ün suçu ne?” (What is Fatmagül’s fault?), is currently the most popular Turkish actress in the Arab world.

Saat has come to represent a sort of dream woman for Arab men, said a recent article in Al Bawaba daily, based in Jordan. There are about 300 fan pages on Facebook dedicated to Saat, and approximately 800,000 people have “liked” those pages. Messages to Beren Saat on Facebook mainly consist of compliments and messages of admiration. According to the Al Bawaba article, Arab men say of Saat “she is like an angel,” and that their only dream is to find someone as “pure” as she is. They also hate the character Mustafa, Saat’s character’s fiancé on “Fatmagül’ün suçu ne?”, and post angry messages about the character on Facebook. Some say they want a daughter like Saat. Arab women, on the other hand, tend to prefer Buğra Gülsoy, another actor appearing in “Fatmagül’ün suçu ne?”, comparing him to Brad Pitt.

Beren Saat is the Turkish person about whom the most articles are being written, according to the latest data released by the Media Tracking Center (MTM), with 4,472 articles in the media. Her popularity in the media stems mainly from her relationship with Kenan Doğulu, her latest boyfriend.

Doğulu is one of the most popular singers in Turkey and represented Turkey in Eurovision 2007 with his song “Shake it up Şekerim.” Doğulu and Saat have been together for a while, and their relationship is said to be very serious. Turkish dailies have written that Saat has met Doğulu’s family.

Actor Kıvanç Tatlıtuğ’s girlfriend Azra Akın was in second place on the MTM list. Akın’s popularity has risen since the couple made up last month and became the focus of marriage rumors. The rumors are still just rumors, though, and Tatlıtuğ has said: “If I were getting married tomorrow, I wouldn’t tell anyone.” »

Source : Hürriyet Daily News

« Azerbaijan bans all foreign TV shows » – Hürriyet Daily News

« The broadcasting of all foreign TV shows has been banned in Azerbaijan as of today, in an effort to “support the domestic sector,” daily Milliyet reported.

The ban includes shows that have been dubbed in the Azerbaijani language. Turkish soap operas are included in the ban.

The head of Azerbaijan’s National Council of Televion and Radio, Nushirvan Meherremli, said the government is firm in its decision and will not back down from the ban.

A new legal regulation will first warn and then punish TV stations that broadcast foreign programming in violation of the ban. The punishment may be as severe as revoking a station’s broadcast license, the report said.

It is hoped that the ban will improve the domestic TV sector in Azerbaijan, Meherremli said. »

Source : Hürriyet

« Doğan TV chairwoman gets leadership award » – Hürriyet Daily News

Doğan TV Holding Chairwoman Arzuhan Doğan Yalçındağ receives her award. DHA photo

« Doğan TV Holding Chairwoman Arzuhan Doğan Yalçındağ, Nurol Holding Deputy Chairman Oğuz Çarmıklı and Tekfen Holding Founding Chairman Ali Nihat Gökyiğit received leadership awards at the ninth Leadership Summit held in Istanbul yesterday.

Speaking at the event Yalçındağ said leadership is a characteristic that one is born with but develops in life. Female leaders are more perfection-seeking while male leaders are more result-focused, Yalçındağ said during a session with TV programmer Cüneyt Özdemir.

“I would like to mention my mother and father, who raised us with the traditions of Anatolia. A leader should be brave, capable of making different decisions and know when to quit.”

“I hate the word postponing,” said Gökyiğit in a session. “A leader never postpones things but addresses them.” Coşkun Çoroğlu said in his opening speech that the meetings within the scope of the Leadership Summit contributed much to the vision of young leader candidates. »

Source : Hürriyet Daily News

 » Comedy ‘Yalan Dünya’ sweeps third Antalya Television Awards  » – Sunday’s Zaman

The cast of the Kanal D comedy “Yalan Dünya” pose for photos at the 3rd Antalya Television Awards. (Photo: AA, source : Sunday's Zaman)

« The Turkish comedy TV show “Yalan Dünya” (Fake World) became the big winner at this year’s Antalya Television Awards on Saturday, taking home five trophies in the comedy category, including best comedy series and best director for a comedy series.

“Yalan Dünya,” which airs every Friday on Kanal D and follows a group of smalltime actors and hipsters living in İstanbul’s upscale Cihangir quarter, also won best actor in a comedy series, best supporting actor and best supporting actress in a comedy series at Saturday’s awards ceremony, aired live on the private television station TV8.

Saturday’s ceremony marked the third edition of the annual awards, a joint venture between the Greater Antalya Municipality and the Antalya Foundation for Culture and Art (AKSAV), who are also the organizers of the southern province’s long-running Altın Portakal (Golden Orange) International Film Festival.

The ceremony also served as an occasion to pay tribute to recently deceased TV scriptwriter and actress Meral Okay, whose immensely popular screenwriting effort “Muhteşem Yüzyıl” (The Magnificent Century) won four prizes, including the best script for a drama series, for the late Okay. The announcement brought tears to the eyes of those in attendance at the packed gala, who commemorated her with a standing ovation, the Anatolia news agency reported. “Muhteşem Yüzyıl,” an account of the intrigue-ridden 16th-century Ottoman court during the reign of Sultan Süleyman the Magnificent aired every Wednesday on Show TV, also won the best director of photography in a series, best art direction in a series and best period drama awards.

Other winners included Kanal D’s “Öyle Bir Geçer Zaman ki” (As Time Goes By), which won best actress in a drama series, best supporting actor and best supporting actress in a drama series and best score for a series; and atv’s “Hayat Devam Ediyor” (Life Goes On), which won the best drama series award.

Veteran radio and TV show host Orhan Boran was honored with the Radio Honor Award but was unable to attend the ceremony to accept his award due to health reasons. Eighty-three-year-old Boran told the gala in a live telephone call that he was honored to be recognized and especially glad he was considered for the award despite having been away from the limelight for more than 10 years. “I am going through a tough battle for my health. Receiving this award has given me an immeasurable morale boost,” he added. »

Source : Sunday’s Zaman

« Another TV rating scandal hits sector » – Hürriyet Daily News

Confidence in TV ratings sector is faltering as an another TV ratings agency has failed to keep identities of its respondents a secret, an investigation reveals. Souce : Hürriyet

« Turkey’s TV ratings sector is facing a new scandal as a fresh inspection reveals that TNS, the latest rating agency, may have failed to keep the names of its respondents a secret.

In December 2011, the Istanbul Üsküdar Prosecutor’s office launched a case against television rating agencies, finding that production companies had paid respondents to vote in favor of the television programs of their choice. The police raided AGB and several other production companies at the time, and the Turkish Television Viewing Research Committee (TİAK) ended its contract with AGB, to sign a new contract with TNS.

TNS received a list of 100,000 respondents from the Turkish Statistical Institute and outsourced the actual survey distribution to five different intermediary companies. TİAK then chose Marmara University to oversee that the respondent pool was chosen in a healthy fashion.

However, in its March-April report, Marmara University found that the respondents were not chosen in the appropriate fashion and that some respondents either did not complete or inaccurately answered the survey questions, or that their addresses did not match their profiles. The university also found that the surveys could have been leaked after being completed, and were not destroyed as required to protect confidentiality. »

Sourc : 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. » […]


« 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

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. […] »

« 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

« Star turn » – C21 media


Cem Aydin. Source : C21 Media

« Following its purchase of Star TV last year, Turkey’s Dogus Media Group is focusing on rebuilding the mainstream channel with original and international productions. CEO Cem Aydin spoke to Michael Pickard.

When its plans to add a home-grown mainstream network to its portfolio of thematic channels were stifled by the economic crisis in 2009, Turkey’s Dogus Media Group was forced to put its ambitions on hold.

Its desire to expand remained, however, and the group moved its focus from launching a network to acquiring an existing one. In line with this new strategy, in October 2011, Dogus paid Turkish conglomerate Dogan Media Group US$327m for its entertainment network Star TV.

Dogan originally bought Star for US$306.5m in 2005 after previous owner Uzan Media folded in 2003 with debts of US$6bn. Star joined Dogus’s stable of seven other channels, which run alongside websites, radio stations, magazines and a publishing imprint. The business is part of the wider Dogus Group of 122 companies, operating in sectors as diverse as banking, construction, real estate and energy.

Explaining the Star purchase, Cem Aydin, CEO of Dogus Media Group, says the firm had become a “pioneer” in thematic channels and wanted to try its hand in a “new and more competitive market” – mainstream TV.

“We worked on a project named TV-en for almost two years,” he says. “But unfortunately, due to the financial turmoil, the project was postponed for an indefinite period. In 2011, when new advertising opportunities arose for mainstream channels, this was the right time to take a project from the rack. Turkey’s first private TV channel, Star TV, was on sale and so rather than building a TV channel from scratch we decided to rebuild Star TV.”

Dogus Media Group was founded in 1999 with the acquisition of NTV, Turkey’s first 24-hour news channel, which had launched in 1996. Business and entertainment channel CNBC-e debuted in 2000 while sports net NTV Spor, music channels Kral TV and Kral Pop, Hindi news net HDe and entertainment net e2 completed the line-up until Star was added last year.

Dogus wasn’t the only company affected by the economic crash, as the entire Turkish media industry faced cuts after a period of expansion, but Aydin says the country’s recovery is now gathering pace. “We were affected but the recovery process has been fast,” he says. “We expect the ad market to grow by 20.4% in 2012 and bring fresh blood to the media industry in general. We aim to increase our ad share in the market until 2013 and keep it around 11.2% afterwards. Obviously, TV still occupies the largest portion of ad share and the acquisition of Star TV has enabled us to double our market share projections for the next three years.”

Advertising sales have also been impacted by the collapse of the Turkish ratings system, which was abandoned last year amid allegations the personal details of some panelists were leaked, which potentially left them open to bribes to change their viewing habits.

A new ratings system will launch in May, but Aydin says: “We’re in limbo right now. This is not good for the sector. Advertisers need measured metrics; they want to see who they reach. And the ad price is also determined through ratings of the time slot. We broadcasters need the metrics to see how our shows are doing and also to talk to the advertisers.”

Despite some signs of economic growth, Dogus does not intend to venture back into acquisitions, as Aydin says picking up new networks is “not a priority for us right now. Improving Star TV, according to our goals and vision, ranks higher on our agenda and we need to concentrate on this objective,” he says.

In terms of content, Dogus’s networks have found success with both home-grown and imported shows. On CNBC-e, worldwide hits including the BBC’s Merlin and Doctor Who, US network CBS’s comedy How I Met Your Mother, Starz original series Spartacus: Blood & Sand and HBO’s Game of Thrones have won strong audiences, while NTV’s documentary hour on Sundays and local news show Close Up are also popular.

Meanwhile, e2 has a slate of international productions including HBO’s Treme and BBC comedy Come Fly With Me, as well as US talkshows such as The Ellen Show, The Conan O’Brien Show and The Tonight Show with Jay Leno.

At Star, Ottoman Empire drama Magnificent Century (Muhtesem Yuzyil), made by TIMS Productions, was acquired from rival Show TV, in part to highlight the takeover completed by Dogus, and viewers have followed. “We obviously treated this transfer as a launch tool to attract attention to the change taking place at Star,” says Aydin. “It is doing very well since the story is quite appealing and tragic and it has a loyal audience. But Star will create its own productions soon enough.

“For the past three or four years, historical series have been on the rise, occupying a serious position in the entertainment world and attracting significant attention to certain periods of history. We believe this trend will continue for a few more years as there is quite a lot of historical material that can be used.”

Other popular shows airing on Star include Iffet, a drama about a woman who is betrayed by her lover; and One Man, One Woman (Bir Erkek, Bir Kadin), the Turkish adaptation of Canadian comedy series Un Gars, Une Fille.

Gameshows are also finding viewers and Star airs a version of Israeli format Still Standing, under the title Eyvah Dusuyorum, which is produced by Endemol Turkey. The channel is also prepping a Turkish version of US classic Jeopardy!. “In terms of primetime series, locally originated productions have been dominant until recently,” says Aydin.

One notable exception to this is Kanal D’s remake of long-running US drama Desperate Housewives, which is running as Umutsuz Ev Kadinlari, produced by Medyapim.

“We are always looking to acquire successful international content,” says Aydin. “Adapting scripts is a rising trend but it is quite difficult to find stories that fit the local culture. Producing original dramas will still be the priority of the sector.”

The number of programmes exported from Turkey is also on the rise, as shown by Magnificent Century’s roll-out into more than 40 territories worldwide by distributor Global Agency. “Turkish series have become quite popular abroad, especially in the Middle East. It is to such an extent that the popularity of these series has boosted interest in Turkey, creating a new line of tourism. It is an exciting but understandable development, given the proximity of the cultures.

“This growth will continue as long as series dominate the primetime hour. But will this spread to other regions? The answer to this lies in shortening the duration, the variety and the production quality of the projects,” explains Aydin.

“Primetime is dominated by Turkish series that run for three hours, with ad slots. A show that runs for almost three hours every week has the possibility of falling into a vicious circle and, currently, the Turkish television industry is suffering from this fatigue. It is having a negative effect, because in order to fill that time space, the stories become longer than usual and lose their dramatic effect.”

As Dogus has bought into Turkey’s mainstream television market with its acquisition of Star, so too have international broadcasters, which are looking to exploit one of the fastest growing TV markets in the world.

Discovery, National Geographic and Disney all have a presence in the country, and while not directly competing against Dogus’s stable of channels, their presence is a sign of the value of the market to foreign broadcasters.

However, Aydin says this competition is not something local networks have to fear, but is something they should embrace. “NTV has been the pioneer of news channels in Turkey by positioning itself as ‘the news channel of Turkey.’ But recently we have had international companies entering the scene, such as Al Jazeera,” says Aydin. “The existence of such competitors in the market is valuable and beneficial to raise standards. The same is also true for players like TNT and Fox in the entertainment world. Such international companies spice up the course of Turkish media.”

Since officially relaunching Star in January after completing the acquisition, Dogus is now preparing for a “second launch” this fall as the growth of the channel forms the focal point of the media group’s ambitions for the immediate future. Part of this plan is to follow the changing audience landscape in Turkey and, in particular, how younger viewers are taking their viewing habits online.

However, Aydin says traditional TV is still the main medium. “The most significant change in Turkey has been witnessed with the expansion of new media, with the mass penetration of internet into households,” he says. “Nevertheless, television is still the main source of information and entertainment.

“Turkish television is quite up to date with what happens in the international arena. The younger audience, on the other hand, is following TV online and has created its own digital entertainment world. We strive to create content that appeals to these youngsters as their habits will be determining the trends of the next few years.” »

Source : C21 media

« 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

« 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

« Atv shows viewed all over the globe » – Sabah

With around 2,000 hours of original programming produced each year, ATV has a « pioneer outlook » on the current market and is at the forefront of the « Turkish drama boom », as its content sales deputy manager, Ziyad Varol, told ttv.

Ziyad Varol: « Our Programs are Sold in Over 60 Countries »

As part of Turkey’s « drama boom », ATV -owned by Turkuvaz Media Group- follows the current high quality drama production trend; and the company doesn’t stop there. On the contrary, its growing international catalog also includes formats and various TV genres that enter the international arena as a result of the channel’s daily endeavors in the local market.

« The channel is known for its enthralling dramas, hilarious comedies, action-packed series and engaging sitcoms, all of which are produced in the highest quality. With a creative and pioneering approach, ATV successfully produces many unique and original programs, bringing an array of fabulous stories and first rate actors to the TV screen, » Ziyad Varol, ATV’s Content Sales deputy manager, says.

ATV currently produces around 2,000 hours of original programming including TV series, daily shows, lifestyle-entertainment and current affairs programs. However, overlooking the drama genre in Turkey can be quite dangerous.

« Drama stands at the core of the TV industry in Turkey, especially for mainstream channels and independent production houses, » he explains. Also, the executive recognizes the industry’s efforts as a whole and assures « all players deserve to be applauded » for their intense work and for succeeding in enhancing the Turkish audiovisual production quality standards. « We are proud to be part of this achievement, » Varol says.

Obviously, the local drama prominence is also reflected on the international demand for Turkish series. Yet, the executive believes in content diversification, as other kinds of content also produced in the country are having good performances overseas. « Based on the sales figures, the most popular genre appears to be drama. However, action and dramedy are also the types of genres people show interest in during international markets. If you take a look at ATV’s catalog you will also see two formats which have been very successful in Turkey; Match&Marry and Straight Forward.

When Turkey’s drama boom was just emerging, ATV’s titles were only distributed to the Middle East. « However, there are already over 60 countries buying Turkish programs, » he states. The Middle East, Balkans, Ex-Yugoslavian countries, Transcaucasia, Post-Soviet states and Eastern Europe are amongst the main buyers. « Nevertheless, it’s not a dream to expect Turkish titles to find slots in major European countries, India, Japan or even America in the future, either as taped content or formats. In the past, no one could anticipate the role that Turkish products are currently playing in the global TV market. »

BRAND NEW TRIO

In recent months, ATV has launched three new titles which, according to Ziyad Varol, have been successful in the local market and have also captured the attention of international buyers: TV series Life Goes On, The End and The Cliff. « From one of the most famous directors in Turkey, Mahsun Kirmizigul, Life Goes On draws attention to early marriage incidents that are still common in many regions in the world and portrays the dramatic life of a 15-years-old girl who is forced to marry a 70 year old man, » he says. In addition, all 25 episodes of The End have made an impact as « one of the most unique TV projects in the Turkish TV history; » and The Cliff tells « the story of a woman coming to Turkey with her sister with the hope of working as a nanny. She manages to escape from the trap she falls into at the last moment ».

Lastly, Varol shares his outlook on DISCOP Istanbul, a local event for ATV to test the market and the strength of its presence in the region: « It’s a small market, but we are glad to have an event like this taking place in Turkey. It was definitely a right decision to organize said market in Istanbul where the heart of globally popular Turkish drama beats. We find it a tailored market where all potential clients assemble ».

Source : Sabah