« 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

Protégé : Istanbul et la production audiovisuelle turque : une approche territoriale (extrait)

Cet article est protégé par un mot de passe. Pour le lire, veuillez saisir votre mot de passe ci-dessous :

« Dizideki gibi yaktılar » – Milliyet

« Öyle Bir Geçer Zaman ki » adlı televizyon dizisinde konuk solist olarak görev alan şarkıcı Zeynep Bektaş, öğretmenlik yaptığı okulun önünde saldırıya uğradı.

Öyle bir geçer zamanki dizisinde de Mete karakterinin genç sevgilisinin yüzüne kezzap atılmış ve genç kızın yüzünün büyük bölümü yanmıştı.

Pendik’te görev yaptığı okuldan çıkan müzik öğretmeni, iki kişinin saldırısına uğradı. Yüzüne asit dökülen genç öğretmen tedavi altına alınırken, saldırganların yakalanması için çalışma başlatıldı.

Çeşitli televizyon dizilerinde de konuk sanatçı olarak görev alan Pendik Velibaba İlköğretim Okulu’nda görevli müzik öğretmeni Zeynep Bektaş (33), okuldaki görevinin ardından dışarıya çıkarak otomobiline doğru ilerlemeye başladı. Otomobiline binmek üzere olan Bektaş’ın aniden yanına yaklaşan iki kişi genç kadının yüzüne asit içerikli bir kimyasal dökerek kayıplara karıştı. Dökülen kimyasal nedeniyle yüzünde ve omzunda yanıklar oluşan Bektaş, okuldan yetişen meslektaşları tarafından Kartal Dr. Lütfi Kırdar Eğitim ve Araştırma Hastanesi’ne götürüldü. İlk müdahalesi acil serviste yapılan Bektaş daha sonra aynı hastanenin Yanık Tedavi Merkezi’ne götürülerek tedavi altına alındı.

Birlikte sahneye çıktığı sanatçı arkadaşı Engin Atalay da hastaneye gelerek Bektaş’ı ziyaret etti. Hastane çıkışında basın mensuplarının sorularını yanıtlayan Atalay da Zeynep Bektaş’ın hiç kimse ile bir husumetinin bulunmadığını, saldırının kimler tarafından ve niçin yapılmış olabileceği konusunda bir şey bilmediklerini söyleyerek, emniyet yetkililerinin saldırganların yakalanması için çalışma başlattığını söyledi. Atalay, Bektaş’ın bu olaydan dolayı psikolojisinin çok olumsuz şekilde etkilendiğini belirterek, yüzünün de tamamen sargılı olduğunu ve doktorlardan aldıkları bilgiye göre, genç öğretmenin yüzünün tedavisinin uzun zaman alacağını öğrendiklerini kaydetti. »

Source : Milliyet

« 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

« 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

« Istanbul becomes favorite setting for films and TV shows » – Hürriyet Daily News

Source : Hürriyet Daily News

« Istanbul looks to become a hub for TV series, film, documentary and commercial shoots. The city is like an open plateau with its cultural heritage sites

Istanbul became the setting for filming many series, documentaries, commercials and movies during the past two years.

The city boasted a total of 1,600 shoots for television series, films, documentaries and commercials in 2010 and 2011. Istanbul is like an open air plateau, according to Culture and Tourism Provincial Manager Ahmet Emre Bilgili.

Istanbul also hosted many international films and documentaries. The Culture and Tourism provincial manager said there were many recent developments in terms of film, series and documentary works in Istanbul.

While international teams visited Istanbul for daily and monthly broadcastings, international commercials and films also took place in Istanbul.

Permissions need to shoot at cultural site

“People come to us to ask permission to shoot a scene of a commercial or a series or a film on the Bosphorus Bridge,” said Bilgili. “The team should also get permission from the road managerial team to shoot the scene,” he added, noting that there was also another kind of permission that covered historical places, streets and venues.

Noting that Istanbul has a very exclusive place among the world cities, Bilgili said “Istanbul has a perfect potential to serve as a setting for series, documentaries, movies and commercials.”

With its historical sites, the Bosphorus and cultural heritage, the city was like an open air plateau, according to Bilgili. “We are trying to present the city with its exclusive historical heritage,” he added.

It was very important to present the city in foreign countries, Bilgili said. “If people get to know Istanbul in a positive way with its beautiful cultural heritage sites, they would visit more. For us, all the places should be presented in the best way we can,” he added.

Each cultural site has an exclusive fee

People who shoot commercials, series and films in cultural heritage sites pay a fee for this service, he said.

“Take for example Topkapı Palace. If someone would like to shoot a scene in Topkapı Palace, they have to pay a fee, which was determined by the ministry earlier,” said Bilgili.

Bilgili said people usually ask for permission to shoot a scene at mysterious and old historical places. “Istanbul is a mysterious city with its open air venues and it attracts visitors. Usually bridges, palaces, coastal shores and libraries become the setting for series, commercials and films,” he added.

Noting that usually teams from abroad prefer to shoot movies and documentaries in the old places of Istanbul, Bilgili said because of love for the old, “The teams from abroad love to shoot documentaries, series and films in Istanbul.” Bilgili said they do not give permission to shoot movies in every old venue of Istanbul. “Our first aim is to protect our heritage and history, and this is possible only by protecting the cultural heritage sites in Istanbul. “We are still continuing the project to preserve the historical places in Istanbul. If there is a danger of damage we do not give permission for shootings,” he added.

The historical movies should be shot in a studio, some say, added Bilgili. “However, it is impossible to sustain a real original historical venue with the studio environment,” Bilgili said.

Bilgili also said if there were a possibility to damage the historical venues then the Culture and Tourism Ministry does not give permission. “We would like to use Istanbul as an open plateau, because there is not another city that contains a sea through it.” The Bosphorus and historical venues give an exclusive attraction to the city, according to Bilgili.

“That’s why we can say that there is no city like Istanbul anywhere in the world,” he said. »

Source : Hürriyet Daily News

 

« Media and the city workshop » – ECREA

Organisers’ description:

The MEDIA & THE CITY Temporary Working Group is happy to announce the organization of its first Workshop. The Workshop will take place on FEBRUARY 10, 2012, at the CATHOLIC UNIVERSITY of MILAN, ITALY.

 

Workshop overview

The first TWG Workshop will feature parallel sessions and a final plenary. During the parallel sessions, members will be able to share and discuss their research. The final plenary session will discuss the organizational aspects of the Group and delineate future activities. Parallel sessions will be open to all interested scholars, while the plenary will be open only for TWG members.

 

Selected papers (see website for full details):

Giorgia Aiello – The urban built environment as global(ist) communication: Concepts, methods, critique

Clemens Apprich – Rise and fall of the city metaphor to describe digital networks in the 1990s

Girogio Bacchiega – Peripheral views on Milan

Giovanni Caruso, Riccardo Fassone, Gabriele Ferri and Mauro Salvador – Check-in everywhere: Places, people, narrations, games

Mariana Ciancia and Walter Mattana – Imagine Milan: An audiovisual design thinking approach to the image of the city

Andrea Cuman – Hardcopy vs digital mobile travel guidebooks: A preliminary comparison on mediated spatial interactino and a case study

Amedeo Damato – Cities of blood and longing. The protagonist’s architectural projection in Hollywood cinema

Miriam De Rosa – Cinematic architectures IN SITU. Notes on the participatory construction of a visual urban imagery

Manuela Farinosi – New media and the city in an « out of ordinary » context: Exploring the motivations behind the citizen journalism production after a natural disaster

Gabriele Ferri and Patrick Coppock – Serious urban games. From play in the city to play for the city

Katalin Feher – Digital urban identities

Cezary Hunkiewicz – City as a medium: The space and street art activities

Angelo Imperiale – Avoiding urban marginality: How to build social sustainability?

Sami Kolamo – Branding urban spaces through football media spectacles

Peter Maroldt – New media and the Asian city

Gonca Noyan – Old bridge as a symbol of multiculturalism: Global discourse and local narratives in Mostar

Christian Oggolder – Losing centrality – urban spaces and the network society

Seja Ridell – The cybercity as a medium. Public living and agency in the digitally shaped urban space

Gabriella Sandstig – There is a light that never goes out – cultivation effects on the freedom of movement in urban and suburban public places

Barbara Scifo – The sense of place from mobile communicatino to locative media

Katia Segers, Joost Vaesen and Rudi Janssens – Opportunities and dangers of Brussels media for its Dutch-speaking minority. Research on audience use, expectations and appreciation

Satomi Sugyiama – The muted mobile in Tokyo

Moira Sweeney – Space and the geographical imagination on the Dublin Docklands

Robert Szwed – Researching media representations of the city. Preliminary remarks on how to measure representations of Lublin, Poland

Matteo Tarantino and Simone Tosoni – Convergent media and social production of space: An approach through controversies

Federica Timeto – In the middle of urban space: The case of critical city

Ferenc Zsélyi – Concrete dreamworks

Ferenc Zsélyi, István András and Mónika Rajcsányi-Molnár – Global staging in a postindustrial city: Dunaújváros, the media platform of intercultural networking

Weiming Ye – Phoenix man and woman: Discussions on urban and rural gap in Chinese BBS forums

« Gloomy Greeks forget woes with lavish Turk TV dramas » – Sabah

Source : Sabah

« When an Athens taxi driver learned his passenger was the boss of an Istanbul-based company that brings Turkish TV dramas to Greece he reached for his phone, called his wife and put her through to the man sitting in the back seat.

« She had to know what happens next, » Global Agency chief executive Izzet Pinto said with a laugh. « I was expecting success but not like this. »

It all began when crisis-stricken Greek TV channels realized soft that buying the glitzy tales of forbidden love, adultery, clan loyalties and betrayal from long-standing regional rival Turkey, was cheaper than filming their own.

The action-packed dramas quickly came to dominate the ratings despite the fact that they are broadcast in Turkish with only subtitles in Greek and have gained a devoted following among a Greek populace disheartened by the country’s biggest financial crisis in decades.

Local commentators even talk of a Turkish invasion, pointing to the history of enmity between the two countries who have been on brink of war on several occasions in the past.

Relations have warmed and natural disasters in both countries have brought them closer. But Greeks know little about the daily lives of urban Turks.

Panoramic views of Istanbul neighborhoods which were once home to large and vibrant Greek communities have also awakened a sense of nostalgia in Greeks for a place they refer to as « The City » or Constantinople.

« They remind me of a different era, of Greece in the 1960s when people dominated in life, not material things, » said 65-year-old Eleni Katsika, a dentist. « I watch them so I don’t get depressed. »

So fascinated are Greeks with the shows, that groups have started organizing trips to the island of Büyükada off the coast of Istanbul just to gawk at the set of one of the hit dramas, « Kismet. »

« JUST LIKE US »

Between stamping passports in a packed Athens police station, a young officer keeps an eye fixed on a tiny portable TV on the edge of her desk showing repeats of the latest prime-time hit, « Aşk ve Ceza » (Love and Punishment).

TV ratings for the shows in the small country of 11 million reached 40 percent in the summer, knocked off the top spot only by the occasional Champions League soccer match. Major channels ANT1 and Mega competed by showing a drama each at 9 p.m. and re-runs in the late afternoon.

« I realized hatred is manufactured by the guys at the top, » said Angeliki Papathanasiou, a 21-year-old law student. « You don’t see the bad enemy, you see the real Turk who falls in love, who gets hurt, who is like us, » she said of the shows.

As a result, dozens of Greek fan pages on Facebook are peppered with Turkish words like « harika » (wonderful) and « guzel » (beautiful). Some Greek magazines have started giving away CDs for intensive Turkish lessons.

Some Turks find the Greek success of the shows difficult to fathom despite the proximity of the two countries, which in some areas are separated by just a few miles.

« It comes as a shock to me, » said Asli Tunc, a media professor at Istanbul’s Bilgi University. « Greeks need a new kind of entertainment to forget about their problems and these serials seem to meet that demand for now. »

They are also a trip down memory lane to days when the economy was better, traditions were cherished, shoe polishers worked every corner and the local grocery store was a point of reference.

« ‘Ezel’ and the other series portray a lost dimension of Greek society that has been buried in recent years, » novelist Nikos Heiladakis wrote in a local newspaper article about the success of one crime drama. « It awakens in today’s Greek a lost identity, » he wrote.

BREAKING DOWN WALLS?

In a way, the dramas are exporting Turkish culture, Global Agency’s Pinto said, even to a doubtful market like Greece.

« Greeks feel closer to Turks than they did, » he told Reuters. « Sometimes soft power is more important than political power. »

For the moment their grip on the audience remains strong and Pinto, whose company distributes three of the dramas to Greek TV and more than 30 other countries, expects to export about five or six dramas to Greece a year.

Next year will see the TV release of the controversial hit-series « Muhteşem Yüzyil » (Magnificent Century), based on 16th century sultan Suleiman the Magnificent, which so far has only been released as a DVD. Magazines selling DVDs of the episodes sell out within hours.

« I’ve not missed a single copy, » said Yiannis Panagoulis, a 40-year-old handyman. « At this rate I’m going to be speaking Turkish very soon. Who would’ve thought? » « 

Source : Sabah

« Istanbul. City portrait » – Università Iuav di Venezia – 29/02/2012

Within the cycle of International Conferences ‘City Portraits’, organized by the School of Doctorate Studies, Università Iuav di Venezia, on February 29th – March 1st 2012 it will be held one about the city of Istanbul. The goal of the International Conference is to provide a wide range of point of view in order to investigate the current transformations of the city and to attempt a better understanding of its coming evolutions based on an interdisciplinary approach, which ranges from the urban planning, historical and contemporary architectural issues to arts, design and cultural policies. PhD candidates and young researcher (under 40 years old at the time the conference will be held), who have developed original studies or projects on specific case‐studies linked with one or more of the following three sessions, are invited to submit their contributions.

1. City & Architecture

Istanbul is one of the world’s largest city and one of the oldest. It has deep roots in its glorious past and it’s trying to look at to its future after the transformations in the 80’s along with the globalization process that picked up speed bringing with it deep change in the urban and architectural context. The goal of this session is to provide a critical point of view on the city of Istanbul through the following main issues:

‐ the role of Mimar Sinan and his works in shaping Istanbul;
‐ the tight relationship between foreign architects/urban planners and the transformations occurred in the city after the declaration of the Republic of Turkey in 1923;
‐ issues linked with the contemporary architecture debate considering that the city is still suffering because of a very quick development occurred in the last decades.

2. City & Society

During the 80s, Istanbul begins to reveal new regimes of regulation for these governments that created new financial sources, allowed the opening for a stock exchange market and creating a new metropolitan government, that transformed the city into a competitive global city region. New wealth engendered new social groups, while traditional wealthy groups (public sector professions like teachers, writers, bureaucrats and trade unionists) experienced an identity crisis and loss of public confidence. This new sense of ownership of new groups (symbolical and material) is today clearly mirrored by spatial polarization of poverty increasingly suburbanized (which its especially migrants), but even displayed by more soft and intangible forms of alienation and marginalization challenging the issue of citizenship. By exploring critically the image of the “globalizing Istanbul”, the session encourage papers that focus on a range of social practices in the city of Istanbul trough which citizenship is enacted “anew” and will consider implications of such enactments for understanding organization of local welfare, highlighting relational aspects of citizenship that lead to positive or negative consequences for civil society.

3. City & Culture

A great impulse for Istanbul’s growing role as a cultural, political and economic arena is due to its candidature as European Capital of Culture in 2010. In this respect, this session highlights the rapid development of the arts and design scene and the blossoming of museums and cultural institutions (such as galleries, libraries and archives) dedicated to contemporary arts, which are closely linked with a rethinking of the dynamics and interrelations with the urban environment and its citizens. Therefore, what are the connections between the cultural production of today and the so called creative industries (especially the design and film industries)? How is the city represented and questioned through visual arts (photography, new media, graphics design)? How is the image of the city communicated?

The curators
Teresita Scalco
Moira Valeri
Marco Vani

Info : istanbulcityportrait@gmail.com

Links :
Call for proposal
Università Iuav di Venezia website 

« Doğan Yayın sells Star TV to Doğuş Group for $327 million » – Today’s Zaman

In a written statement released on Monday through the Public Disclosure Forum (KAP), Doğan Yayın said the company had reached an agreement with Doğuş for the sale of Star. “We signed a deal for the sale of our shares in Star TV late on Monday with Doğuş Group,” the statement said. Doğuş will pay $151 million in cash and the remaining $176 million will be paid in 24-month installments to DYH. Doğuş takes over Star from Nov. 1.

Doğan had to pay the Finance Ministry TL 294.2 million in fines levied on the company in 2009 for alleged irregularities in its tax returns. In alleged efforts to raise funds to compensate for the tax fines it had to pay, DYH in April sold its Milliyet and Vatan dailies to the Demirören-Karacan joint venture’s DK Gazetecilik ve Yayıncılık A.Ş. for $74 million. Doğan last year said it would eventually sell all of the companies in its media business, except for the Hürriyet daily, within three months in an attempt to pay off the crippling tax fines. »

Source : Today’s Zaman

« Turkey tourism sector buoyed by ‘Arab Spring’  » – Cumhuriyet

« Turkey’s rising regional status in the Arab world swept by popular uprisings against dictatorships is translating into a booming tourism sector at a time of chill in ties with one time ally Israel.

The number of Arab tourists visiting Turkey has dramatically increased over the recent years, making the country a favourite destination in the Arab world, while Israeli tourist numbers have plunged sharply, official data showed. […]

The number of Arab tourists visiting Turkey increased by 16 percent in the first eight months this year, according to the ministry’s statistics.

Istanbul is regarded as one of Turkey’s main tourism destinations as well as Antalya in the Mediterranean.

Some 1.4 million Arab tourists visited Turkey in the period from January to August this year, up from 1.2 million in the same period in 2010 and from nearly 912,000 in 2009.

« We expect to reach 1.7 million Arab tourists in 2011, » said Mehmet Habbab, head of the Turkish-Lebanese Business Council. […]

But another factor is the popularity of Turkish soap operas in the region, with tourists eager to see the Ottoman palaces, ancient sites of Istanbul, and other locations featured in the television series.

« Wherever you go in the Arab world, people talk about Turkish soap operas. Last year Turkey got 67 million dollars in income solely from exporting TV series to Arab countries, » said Habbab.

Source : Cumhuriyet

Protégé : Looking for the territories of a “creative city” in Istanbul. Inputs from industrial geography into cultural industries studies.

Cet article est protégé par un mot de passe. Pour le lire, veuillez saisir votre mot de passe ci-dessous :

« Les feux de l’amour, mode stambouliote » – Saphir News

« Vous avez aimé “Dallas” et le “Texas” ? Vous adorerez Murat à Istanbul, où le brushing d’Asi a éclipsé celui de Sue Helen. Depuis environ cinq ans, les feuilletons turcs sont devenus un vrai phénomène de société, dans le pays et au-delà des frontières.

Les courbes douces du Bosphore luisent de mille feux sous les lumières qui éclairent Istanbul. Une coupe à la main, un couple s’enlace tendrement, le regard plongé depuis leur terrasse luxueuse dans les flots nocturnes. Il fait nuit, il fait chaud…

Ils sont des millions à assister à la scène. Assis sur le canapé du salon, devant l’écran, ils suivent leur feuilleton favori. Made in Turquie. « Je regarde quasi tous les épisodes, avoue Yigit, un jeune ingénieur stambouliote en génie électrique. Je fais en sorte de ne pas en rater un ». Son amie, une étudiante de 22 ans, précise : « Mon feuilleton favori est Yoprak Dolamu Duyju ».

Exit “Santa Barbara” et autres telenovelas, évincés par “Ask-I Memnu”, “Gümüs”, “Binbir Gece” et tutti quanti ! Depuis cinq ans environ, c’est une véritable industrie du soap opera qui s’est développée dans le pays. Avec ses feuilletons fleuves, ses produits dérivés et ses acteurs starisés : Kivanc Tatlitug et Songul Oden, dont l’amour contrarié déroule les épisodes de “Gümüs”, Tuba Büyüküstün qui incarne à la fois Lamiss dans “Hilamurlar Altinda” et Asi dans le feuilleton éponyme au côté de Murat Yildiri (Demir … Tous beaux, riches, jeunes, minces (Kivanc Tatlitug est aussi mannequin)…, ils drainent des foules de fans hystériques dans leur sillage et alimentent les potins mondains. Sur Facebook, la page de “Yoprak Dolamu Duyju”, une « doyenne » des sagas, diffusée sur la télévision publique depuis près de dix ans, affiche des milliers de fans. Celles de Kivanc Tatlitug, qui se déclinent par dizaines, comptent jusque plus de 170 000 admirateurs – il s’agit en fait surtout d’admiratrices. Qui ne résident pas tou(te)s en Turquie. (…) « 

Source : Saphir News


Documentary : « Ekümenopolis : city without limits », by Imre Azem

source : http://www.ekumenopolis.net/

Projection at the IFEA : May 25th 2011, 6pm

Synopsis:

« The neoliberal transformation that swept through the world economy during the 1980’s, and along with it the globalization process that picked up speed, brought with it a deep transformation in cities all over the world. For this new finance-centered economic structure, urban land became a tool for capital accumulation, which had deep effects on major cities of developing countries. In Istanbul, which already lacked a tradition of principled  planning, the administrators of the city blindly adopted the neoliberal approach that put financial gain ahead of people’s needs; everyone fought to get a piece of the loot; and the result is a megashantytown of 15 million struggling with mesh of life-threatening problems.

Especially in the past 10 years, as the World Bank foresaw in its reports, Istanbul has been changing from an industrial city to a finance and service-centered city, competing with other world cities for investment. Making Istanbul attractive for investors requires not only the abolishment of legal controls that look out for the public good, but also a parallel transformation of the users of the city. This means that the working class who actually built the city as an industrial center no longer have a place in the new consumption-centered finance and service city. So what is planned for these people?

This is where the “urban renewal” projects come into play. Armed with new powers never before imagined, TOKI (State Housing Administration), together with the municipalities and private investors, are trying to reshape the urban landscape in this new vision. With international capital behind them, land plans in their hands, square meters and building coefficients in their minds, they are demolishing neighborhoods, and instead building skyscrapers, highways and shopping malls. But who do these new spaces serve?

The huge gap between the rich and the poor in Istanbul is reflected more and more in the urban landscape, and at the same time feeds on the spatial segregation. While the rich isolate themselves in gated communities, residences and plazas; new poverty cycles born in social housing communities on the prifery of the city designed as human depots continue to push millions to desperation and hopelessness. So who is responsible for this social legacy that we are leaving for future generations?

While billions of dollars are wasted on new road tunnels, junctions, and viaducts with a complete disregard for the scientific fact that all new roads eventually create their own traffic, Istanbul in 2010 has to contend with a single-line eight-station metro “system”. Due to insufficient budget allocations for mass public transportation, rail and other alternative transport systems, millions of people are tormented in traffic, and billions of dollars worth of time go out the exhaust pipe. What do our administrators do? You guessed right: more roads!

Everything changes so fast in this city of 15 million that it is impossible to even take a snap-shot for planning. Plans are outdated even as they are being made. A chronic case of planlessness. Meanwhile, the population keeps increasing and the city expands uncontrollably pushing up against Tekirdağ in the east and Kocaeli in the west. But does Istanbul really have a plan?

In 1980 the first plan for Istanbul on a metropolitan scale was produced. In that plan report, it is noted that the topography and the geographic nature of the city would only support a maximum population of 5 million. At the time, Istanbul had 3.5 million people living in it. Now we are 15 million, and in 15 years we will be 23 million. Almost 5 times the sustainable size. Today we bring water to Istanbul from as far away as Bolu, and suck-up the entire water in Thrace, destroying the natural environment there. The northern forest areas disappear at a rapid pace, and the project for a 3rd bridge over the Bosphorous is threatening the remaining forests and water reservoirs giving life to Istanbul. The bridges that connect the two continents are segregating our society through the urban land speculation that they trigger. So what are we, the people of Istanbul, doing against this pillage? If cities are a reflection of the society, what can we say about ourselves by looking at Istanbul? What kind of city are we leaving behind for future generations?

Ecological limits have been surpassed. Economic limits have been surpassed. Population limits have been surpassed. Social cohesion has been lost. Here is the picture of neoliberal urbanism: Ecumenopolis.

Ecumenopolis aims for a holistic approach to Istanbul, questioning not only the transformation, but the dynamics behind it as well. From demolished shantytowns to the tops of skyscrapers, from the depths of Marmaray to the alternative routes of the 3rd bridge, from real estate investors to urban opposition, the film will take us on a long journey in this city without limits. We will speak with experts, academics, writers, investors, city-dwellers, and community leaders; and we will take a look at the city on a macro level through animated maps and graphics. Perhaps you will rediscover the city that you live in and we hope that you will not sit back and watch this transformation but question it. In the end this is what democracy requires of us. »

Source : official website
http://www.ekumenopolis.net/

Facebook page of the film:
https://www.facebook.com/pages/Ekümenopolis/141253259238073


Istanbul demography and Turkey timelines (1900-2011)

Last update : may 5rd, 2011 (262 historical events in 10 categories)

I just produced a basis for a timeline mixing some historical datas I wanted to compare : economics, medias, political events, global context, demography, etc. related with Turkey’s and Istanbul’s history. The purpose of this little work is to contextualize on a century scale the apparition of TV medias in Turkey and in Istanbul metropolis, and also to share with other searchers a timeline resuming Turkey’s important events.

This chart would need more further precisions, especially on sources, and would need more informations on medias major events (legislation and so on). So this article should be updated regularly…

NA : This article and the chart are in english because the sources were so.

Click on the picture to a full-view size

The events are classified between 10 families of events :

01 – INTERNATIONAL CONTEXT
02 – ECONOMY
03 – POLITICS
04 – MEDIAS
05 – ISTANBUL GOVERNMENT
06 – INDUSTRIES
07 – CULTURE
08 – TRANSPORTS
09 – URBANIZATION
10 – BUSINESS DISTRICT

Sources : « Development chart of Istanbul metropolitan area » / N. Monceau (dir.) « Istanbul »/ J.F. Pérouse « La Turquie en marche » / Wikipedia

Continuer la lecture de Istanbul demography and Turkey timelines (1900-2011)