Liens : sites sur les “dizi” et leurs audiences

Sites des chaînes / rubrique dizi

Extraits/épisodes Dizi :

Audiences TV Turquie : 

Reports : Istanbul Ticaret Odası



P.97 :

“[…] the sector of TV dramas and series is the driving force for some televisions broadcasting in domestic market. However, the importance of this sector is not limited to the television broadcasting. TV series production produce very important consequences for Turkey’s economic, social and cultural life in terms of value chain and labour force. One of these consequences is related to its interaction with the movie industry. These two sectors based on the same creative forces and the same labour and capital market develop side by side : involvement of experienced people of the movie sector in TV series enhances the quality of TV series ; moreover as stated by the people in the movie sector young people gain experience in TV series and then enter the movie sector with better qualification.”

Reports : TESEV


Media Content: The Regulatory Framework and Court Decisions (p.35)

“Article 25 of the constitution guarantees freedom of expression and protects individuals from state interference on expression of their opinions. Article 28 protects freedom of the press and imposes on the state a positive obligation to undertake the requisite measures to ensure the exercise of this freedom. The constitution guarantees the right to declare or disseminate opinions individually or collectively and to access and share information and opinions without state interference.

What lies beyond this liberal façade, however, is a framework where nationalism, statism and cultural conservatism emerge as the supreme values looming over individual rights. The exercise of fundamental freedoms is subject to compliance with; inter alia, national security, national unity and state secrets.

The constitution entrusts the state with the duty to make sure that citizens act and think in accordance with the ideals of Atatürk, the values of the nation and the morals of the family. Article 41 identifies the family as the ‘foundation of the Turkish society’ and tasks the state with taking measures to protect ‘the peace and welfare of the family’ and to protect children against all kinds of abuse and violence. Article 58 allots the

duty to protect the youth against abuse, exploitation and ‘bad habits’ such as alcoholism, drugs and gambling to the state, and as well as the responsibility to raise young people in accordance ‘the principles and revolutions of Atatürk.’ Making note of this ‘state- centrist approach,’ the Council of Europe (CoE) Commissioner for Human Rights pointed out the pervasive recognition ‘that the letter and spirit of the present Turkish Constitution represent a major obstacle to the effective protection of pluralism and freedom of expression’ (Hammarberg, 2011: para. 11).” […]

Executive Summary

Media policy in Turkey has shaped the media-state relationship since the establishment of the first newspaper in the late Ottoman period. While regulations were often employed as an effective disciplinary tool against the press in processes of state formation and modernization, opponent journalists have constantly been suppressed by state and non-state actors who claimed to act in the name of ‘state interests’.

The coup d’état in 1980 and the concomitant economic liberalisation changed the ownership structure of the media sector with the entry of new investors. Following the abolishment of state monopoly on broadcasting in the 1990s, big conglomerates expanding through vertical and horizontal mergers have dominated all fields of the media. The high concentrated market structure in the media was made possible due to the inadequacy of legal barriers to cross- mergers, as well as the lack of measures that would prevent media conglomerates from participating in public tenders in other sectors of the economy. The shortcomings of the regulatory framework to promote press freedom and diversity in the media has encouraged big corporations to regard themselves as legitimate political actors that can bargain with the government.

Media ownership was restructured following the economic crisis in 2001. Big media groups, which had investments in the financial and banking sectors, were particularly affected by the crisis; some being completely wiped out of the market, while others were seized by the state. Shortly after the Justice and Development Party (Adalet ve Kalkınma Partisi- AK Parti) came to power in 2002, the mainstream media was reconfigured ideologically as either ‘opponent’ or ‘proponent’ to the government.

Notwithstanding the limited positive effects of the EU accession process on media freedom, there are dozens of ECtHR judgments regarding freedom of expression and freedom of the press waiting to be executed by the Turkish state. Journalists who are powerless vis-à-vis the owners and political power are particularly affected by the political polarisation in the media. The structural obstacles to unionization and the lack of solidarity in the profession lead to labour exploitation, low quality content and violations of media ethics.

The lack of a strong pro-democracy social movement; the ideological conservatism of the judiciary; the institutional weakness of the parliament; and the lack of democracy within political parties render the government – and future governments – too powerful vis-à-vis the society and the media. On a positive note, however, there is a growing awareness on the need for social monitoring of the media. In the absence of a widely accepted and established self- regulatory framework, various non-governmental organizations and activist groups started to watch the media in order to expand the culture of diversity and to reduce discrimination, racism and hate speech.

Culture: (p.15-16)

“In recent years, Turkey has not just become more politically and economically active in the Middle East but culturally as well. The popularity of Turkish television series and holidaying in Turkey has become far more apparent. Thus the 2010 survey included questions about television and holidaying to understand this phenomenon.

Turkey as a destination has become more popular. Between 2007 and 2009, the number of tourists arriving from the surveyed countries increased from between 25% to 55% depending on the country.

Since 2009, Turkey has lifted visa requirements with Jordan, Lebanon, and Syria in both directions as well as for Saudi Arabian citizens. Indeed, comparing the number of tourists arriving from these four countries in the month of July 2010 to July 2009 reveals the impact of this policy: there was a 32% increase in the number of tourists from Jordan, an 88% increase from Lebanon, a 133% increase from Syria and a 59% increase from Saudi Arabia.

The results show that respondents saw Turkey as the most popular Middle Eastern destination. Indeed, Turkey was the most popular destination in Lebanon (51%), Iran (50%), Syria (43%), Jordan (41%), Palestine (41%) and Saudi Arabia (26%). Turkey’s nearest rival, Saudi Arabia, was the most popular destination amongst Egyptians only (32%). When asked about holidaying outside the region, France was the most popular destination but Turkey was the second most popular alongside Germany with 9%.

Turkish television series, dubbed in Arabic, are contributing to the visibililty of the country in the Middle East. Today the volume of these exports to the region is around $50 million per annum.

Indeed, television series have become an important part of Turkey’s soft power; the number of people who watch Turkish TV series in the region is very substantial and this has the potential to have a lasting effect on Turkey’s image. The survey results confirm this popularity: 78% of respondents had watched a Turkish TV series. The number of viewers was particularly high in Syria (85%) and Iraq (89%). Indeed, it’s not just the series themselves but Turkish celebrities that are popular in the Middle East: respondents could name no fewer than 15 Turkish TV series and 15 celebrities. Knowledge of Turkey’s television series and celebrities was particularly noteworthy in Iraq.”

 Television Broadcasting: (p.51-52)

“According to data from the Radio Television Supreme Council, there are currently 24 national, 15 regional and 209 local television enterprises on air. The categorization as national, regional and local broadcasting was done in consideration of RTÜK’s terrestrial broadcasting frequencies plan and the licenses granted under said plan. Yet, the developing technology and the widespread usage of satellite receiver systems continue to blur the distinction between local, regional and national broadcasting. For example, a television enterprise established in and broadcasting from the Black Sea region can have its broadcasts reach the national and even international audiences through satellite. Hence, although it may have a local broadcasting licence, it is not possible to regard such a television station as a local broadcaster. Even this change only demonstrates the need for more research and more discussion on the area of local broadcasting in Turkey.

On the other hand, in all of these scales, television is the media channel that has the highest access rate: it reaches more than 98% of those living in Turkey.The daily average spent watching television is 3 hours, going up to 7 hours for stay at housewifes. Cable TV broadcasting services are available in 21 cities, with approximately 1 million 275 thousand subscribers. Türksat A.Ş, the cable company that broadcasts public and private television enterprises, belongs to the state and is a monopoly. The company provides both infrastructure and broadcasting services; hence it also determines the channels that can broadcast on cable. A new draft regulation on the privatization of this service has been submitted to the public by RTÜK. The effective date of the regulation is as yet unknown.

Additionally, there are also two digital broadcasting platforms in the television broadcasting sector, one belonging to the Çukurova Group (Digiturk), and the other to the Doğan Group (D-Smart). DIGITURK has approximately 2 million 200 thousand subscribers, while D-Smart has 1 million 200 thousand subscribers.”

 Print & broadcast medias : (p.30-31)

“The media sector in Turkey is divided into aggregations. The biggest eight of the 15 media groups are Albayrak, Doğan, Çukurova,Ciner, Çalık, Feza, Doğuş and İhlas Groups. All major private television and radio stations, newspapers and periodicals belong to these groups. The Doğan Media Group and Merkez Group also have a monopoly over the distribution of the print media through Yay-Sat and MDP, respectively.

Established in 1980, Doğan Media Group is the largest media holding company in Turkey. The group has eight dailies: Hürriyet, Milliyet, Radikal, Posta, Vatan, Fanatik, Referans and Hürriyet Daily News. Hürriyet and Milliyet have a nationalist and statist position while Radikal has a social-democrat point of view. Posta is a tabloid newspaper and Referans was a financial newspaper that has recently been merged with Radikal. Doğan Media Group also owns the national TV channels Kanal D, Star and CNN Turk and radio channels Radio D, Slow Turk Radio and Radio Moda. The group also owns a digital platform called D-Smart, which includes many thematic and pay-per-view channels. Moreover, the group provides access for all TV channels on Türksat satellite. It has a stake in the cinema and advertising industries through D Productions. Channel Romania D is another investment of the group in Romania. The group also includes Doğan Burda Rizzoli (DBR), a joint venture with the German publishing house Burda and the Italian media corporation Rizzoli. Doğan runs its own news agency, DHA, publishing house, Doğan Kitap, and merchandising company, D&R. […]

Doğuş Media Group was founded in 1999. Its first channel was the news channel, NTV. In addition, the group collaborates with international brands such as CNBC, NBA, Billboard, Virgin, and National Geographic.

The Albayrak Group was established in 1952. Until 1982, it was active only in the construction sector. The group began publishing the daily Yeni Şafak in 1995. Having liberal and left-wing columnists who do not belong to the Islamic community the paper has emerged from, Yeni Şafak “offers a relatively broader perspective especially about the controversial issues.” Since 2007 it has been running TVNET, a news channel.

Ciner Holding was an active company in the automotive and energy sectors under the name of Park Holding. In 2002, the company entered the media sector. In September 2007 Ciner Publishing Holding was founded; it currently owns Habertü, Habertürk Radyo, Habertürk TV, Ajans Habertürk and Gazete Habertürk. The company holds international TV and radio channels such as Bloomberg TV and Bloomberg HT Radyo. The Turkish language editions of Marie Claire and Maison, belong to Ciner Group as does the recently closed Newsweek, FHM, Food and Travel, GEO, and Mother and Baby.

Çukurova Holding currently publishes the Akşam, Güneş, Tercüman newspapers and Alem magazine and owns the Show and Sky Turk TV stations. Turkcell, the leader in the GSM industry, as well as Digiturk, which broadcasts the national football league matches, also belong to this group.

The Turkuvaz Group belongs to Çalık Holding. In December 2007 the group bought the Merkez Medya Group from Ciner Holding and became the proprietors of the newspapers Yeni Asır (Izmir), Sabah, Takvim, Günaydın and Pas Fotomac, the weeklies Bebeğim ve Biz, Sinema, Home Art, Yeni Aktuel and Gobal Enerji, as well as the television station ATV. […]”

Turkey’s Image in the Arab World”written by Carnegie Middle East Center Director Paul Salem draws upon the survey to look at how Turkey is and should be responding to recent events in the region.

“[…]Questions 20 and 21 indicate the influence of soft power. A full 78% of respondents in the Arab world and Iran report that they have watched Turkish soap operas. Indeed these TV programs have taken the region by storm, with Turkish TV stars becoming pop idols among young and old, men and women. The impact of watching hours of these Turkish soap operas cannot be underestimated as they have the effect of creating attachment, understanding, and affection for Turkish identity, culture, and values among wide regional publics. Like Egyptian TV and cinema created a prominent cultural place for Egypt in previous decades, Turkish television has made similar inroads in Arab (and Iranian) popular culture. This has been complemented by a wave of tourism to Turkey in which Arabs and Iranians from various classes and walks of life have visited Turkey and become familiar and attached to its towns and cities, history and monuments, culture and people. Turkey is identified in the survey as the most popular tourist destination (35% put it as their first choice; followed by 19% for Saudi Arabia; and 13% for Lebanon.)[…]”

Challenges to Turkey’s Soft Power in the Middle East”written by the Dean of Graduate School of Sciences in METU Meliha Benli Altunışık questions how Turkey exercises its soft power in the Middle East, an issue that has become all the more relevant as a result of the Arab Spring.

Turkey’s attractiveness : (p.2)
” […] Finally, in recent years Turkey has become a source of attraction because of its cultural products. Since 2004 Turkish TV series have become quite popular in the Arab world. 78 percent of the respondents said yes to the question of whether they have ever watched a Turkish TV series in the TESEV poll. The popularity of these series has led to an increase in the numbers of visitors to Turkey from the Arab countries. The increase in human-tohuman interaction has facilitated learning from each other and started to shape images of the “other” in more positive ways.[…]”


Quelques perles du cinéma turc des années 50′-70’…

Erol Amaç est M. Spak (à ne pas confondre avec M.Spock, qui lui porte un sous-pull bleu). Source : Monster movie music

Voici quelques extraits – pour rire mais aussi pour déplacer un peu le regard qu’on porte habituellement sur le cinéma – d’adaptations turques de franchises américaines des années 70 et 80…

Celles qui m’intéressent le plus directement sont avant tout les adaptations de séries de cette époque telles que Star Trek “alla turca” ou “Betmen”, mais on ne peut s’empêcher se savourer d’autres adaptations locales pour le cinéma : “Supermen”, “Badi” (la version turque de E.T.), le magicien d’Oz turc, “Frankeştayn”, Drakula à Istanbul, le Zorro turc… et bien sûr l’inénarrable “Turkish Star Wars”, connu également sous son nom original de “Dünyayi Kurtaran Adam” (l’homme qui a sauvé le monde). “Nanarland“, qu’on peut saluer pour ses leçons de cinéma et son érudition particulière dans le genre “série Z” a d’ailleurs consacré une émission à ce film. Une attention particulière est à porter aux bandes sons, on peut reconnaître des emprunts parfois étranges, voire hors propos.

Voir aussi quelques pages et groupes où assouvir sa nostalgie ou sa curiosité de bizarreries datées :

Groupe Facebook “Eski Yerli Diziler ve Filmler” :

Emission “Escale à Nanarland” :

Le site de Nanarland, “le site des mauvais films sympathiques” :


Les acteurs de “Turist Ömer Uzay Yolu’nda” sur la place Taksim. Source : Facebook (Rauf Kösemen)

Source : Nanarland

“Network” (1976) by Sydney Lumet

Un extrait de ce film d’un cynisme caustique sur la télévision des années 70 aux US : le “tube”. Une satire qui fait toujours réfléchir sur l’état des médias aujourd’hui.
Voir sa fiche sur IMDB :

[…] Howard Beale: So, you listen to me. Listen to me: Television is not the truth! Television is a God-damned amusement park! Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, side-show freaks, lion tamers, and football players. We’re in the boredom-killing business! So if you want the truth… Go to God! Go to your gurus! Go to yourselves! Because that’s the only place you’re ever going to find any real truth.

But, man, you’re never going to get any truth from us. We’ll tell you anything you want to hear; we lie like hell. We’ll tell you that, uh, Kojak always gets the killer, or that nobody ever gets cancer at Archie Bunker’s house, and no matter how much trouble the hero is in, don’t worry, just look at your watch; at the end of the hour he’s going to win. We’ll tell you any shit you want to hear. We deal in *illusions*, man! None of it is true! But you people sit there, day after day, night after night, all ages, colors, creeds… We’re all you know. You’re beginning to believe the illusions we’re spinning here. You’re beginning to think that the tube is reality, and that your own lives are unreal. You do whatever the tube tells you! You dress like the tube, you eat like the tube, you raise your children like the tube, you even *think* like the tube!

This is mass madness, you maniacs! In God’s name, you people are the real thing! *WE* are the illusion! So turn off your television sets. Turn them off now. Turn them off right now. Turn them off and leave them off! Turn them off right in the middle of the sentence I’m speaking to you now! TURN THEM OFF… […]

Documentary : “Creativity and the capitalist city. A struggle for affordable space in Amsterdam” a film by Tino Buchholz

Text from the official webpage of the documentary :  

“Creativity is fancy, glamorous and desirable. Who can be against creativity? At the same time it is used selectively for economic purposes and consists of precarious and hard work.

In this film, the search for creativity is linked to existential struggles for affordable housing and working space in Amsterdam, such as temporary accommodation, squatting, anti-squatting and some institutional synthesis: “breeding places” Amsterdam.

This film is more than a local documentary on Amsterdam. It explores the latest urban re-/development pattern in advanced Western capitalist cities. The hype around the creative city began already a decade ago, it is global in scope and about to reach its peak. After Richard Florida’s influential book “The Rise of the Creative Class” (2002) creativity has advanced to be the role model of urban regeneration:The New American Dream.

 The whole film is watchable here :!prettyPhoto

“Turquie – Série TV : l’empire contre-attaque” – émission Faut Pas Rêver

Extrait d’un reportage de Sandrine Léonardelli et Patrick Méheut (production France Télévisions / Faut pas rêver)

“Depuis une dizaine d’années, les séries télé « made in Turquie » règnent en maîtres sur le petit écran. Avec un marché de 70 millions de téléspectateurs, leur production est devenue une véritable industrie dont Istanbul est la capitale. Exit les feuilletons brésiliens ou mexicains, les séries turques parlent aussi d’amour, de crimes ou de trahison. Leurs héros sont beaux, souvent riches et puissants et ils sont turcs ! Et c’est ça qui fait la différence ! Leader absolu de l’audience depuis un an, « Le siècle magnifique » raconte la vie de Soliman, le plus grand sultan de l’Empire ottoman, y compris sa vie privée… Un pari osé en Turquie ! “

Lien sur le site officiel de l’émission Faut Pas Rêver :



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.


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.” […]

Reports : RATEM




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

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

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

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

Reports : KEA


“Very few economic sectors have revealed as much economic potential in China and the EU as the cultural and creative industries (CCIs) have over the past few years. China is leading Asia in the development of a creative economy. Its cultural sector records € 50.32 billion of value added, contributes to 2.45% of Chinese GDP, registering growth 6.4% higher than growth of the general economy. European CCIs are worth 2.6% of the EU’s GDP and generate a turnover of more than € 654 billion (2003), much more than that generated by the car manufacturing industry (€ 271 billion in 2001) and by ICT manufacturers (€ 541 billion in 2003).

The insufficient enforcement of IPR, the lack of IP understanding as a tool to foster trade transactions, together with the size of the cultural operators – SMEs with little access to foreign markets – as well as the lack of political awareness on the economic importance of the creative industries, are the main structural reasons for insufficient trade relationships between Europe and China in the cultural and creative sectors.

Nevertheless CCIs are important drivers of innovation in other industries and societies. They contribute to tourism and the development of the ICT sector, which is hungry for content. Culture also contributes to social cohesion. The development of cultural industries and creativity is intrinsically linked with brand strategies. Today, competitiveness rests on the ability to create emotional ties with consumers that go beyond the price or the functionality of products. Aesthetic, meaning, social significance are key aspects of the experience economy. Culture, creative industries and intellectual property are key drivers of this intangible economy.” […]

“It therefore becomes an imperative for industry to meet and to create new kinds of demand that are not based merely on the functionality of a product but are instead rooted in individual and collective aspiration. In this new paradigm, marketing and services are as important as production. This requires creative skills and thoughts as productivity gains at manufacturing level are no longer sufficient to establish a competitive advantage. Culture-based creativity is a powerful means of overturning norms and conventions with a view to standing out amid intense economic competition. Creative people and artists are key because they develop ideas, metaphors and messages which help to drive social networking and experiences.” […]

Creativity is a process continuously shaped and stimulated (or constrained) by human, social, cultural and institutional factors. It is proposed to establish a Creativity Index (with a set of 32 indicators) whose aim is to assess the creative environment in EU Member States and to enable the development of a creative ecology in Europe through art and culture.” […]

“The study on the contribution of culture to creativity was prepared for the European Commission (Directorate-General for Education and Culture). It demonstrates the impact of culture and art on creativity, a major factor of economic growth and a vector of social and technological innovation.

The assignment lasted 11 months between May 2008 and April 2009. It was managed by KEA European Affairs (KEA) a Brussels based consultancy which specialises in the cultural, media and entertainment sectors. For this assignment KEA set up a consortium composed of Burns Owens Partnership (BOP) and Professor Roberto Travaglini.”

The European Creativity Index (ECI) is a new statistical framework for illustrating and measuring the interplay of various factors that contribute to the growth of creativity in the European Union. As other indicators it measures the performance of a phenomenon using a set of indicators which highlight some of the key features of that phenomenon. It is inspired by existing indexes concerning creativity, innovation and economic performance but introduces elements that are more specifically related to arts and culture.

A focus on the cultural dimension of creativity implies taking into consideration a number of factors, many of which are usually not included in other indexes. These include, but are not limited to: education in art schools, cultural employment, cultural offering, cultural participation, technology penetration, regulatory and financial support to creation, economic contribution of creative industries. We group these indicators in six pillars of creativity :

Openness and diversity ; Social environment ; Human capital ; Creative outputs ; Technology ; Institutional environment

[…] “The interdependence between the cultural & creative sector and ICT

Broadband penetration has grown exponentially over the last years and broadband uptake is continuing. The diffusion of wireless Internet connections and the mass adoption of 3G mobile phones have turned into a reality the promise of being connected “anywhere, anytime”. The switch-over from analogue to digital broadcasting has already happened (for radio) or is foreseen for the years to come (for TV).[…]

The growth of creative content and the expansion of the ICT sector are the two sides of a same coin.

Technology and in particular the growing diffusion and importance of the Internet is the major driver for growth in the creative media and Internet industry (provided the issue of piracy is properly addressed). The impact on media consumption has been huge in recent years and it will be the major factor for the sector in the future. At the same time creative content is a key driver for ICT uptake. The consultancy firm PriceWaterhouseCoopers estimates that spending on ICT-related content will account for 12% of total increase in global entertainment and media spending until 2009.[…]

Creative hubs and the contribution of culture and creativity to local development

Firstly, the characteristics of cultural and creative goods are that they cater essentially for a local audience, its languages and cultures. This makes it difficult for the production of cultural goods and services to shift to other continents. Therefore off-shoring is less developed than in other sectors of the economy (even at manufacturing level). Job losses in the cultural & creative sector tend to be the result of restructuring, for example due to new forms of distribution and the emergence of new business models. Because of this characteristic (non-delocalisation), and given that Europe is a major producer of intellectual property assets in the world, it would be well advised to try and make the most out of this potential to boost its economy.

Secondly, there is a competitive race to attract talent and creators (“the creative class”) to localised environments supporting the clustering of creativity and innovation skills. Europe risks experiencing a talent drain in sectors such as video games and cinema attracted abroad by better conditions, essentially financial.

Moreover, culture and innovation play a crucial role in helping regions attract investment, creative talents and tourism. Paradoxically, whereas we are living at a time where information technologies have abolished distance and time constraints, “physical location” and the “socialisation” factor remain decisive for economic success. The “location market” is a reality. Cities and regions are competing to attract foreign direct investment and creative talents. In order to succeed they need to attach several new strings to their bows: diversified cultural offerings, quality of life and life style. Culture has become an important soft location factor and a key factor for boosting local and regional attractiveness.” […]

Reports : RTÜK


“Radyo ve Televizyon Üst Kurulu özürlü vatandaşların televizyon izleme eğilimlerini belirlemeye yönelik olarak, örneklemi Türkiye genelini kapsayan bir kamuoyu araştırması yaptı.

11-27 Eylül 2007 tarihleri arasında, Türkiye genelini temsilen 20 ilde 15 ve daha yukarı yaştaki toplam 2488 özürlü/engelli kişinin katılımıyla gerçekleştirilen “Özürlü Vatandaşların Televizyon İzleme Eğilimleri Araştırması” ile araştırmaya katılan 78 kişiyle yapılan derinlemesine mülakat sonuçlarına göre, özürlüler hafta içi günlerde ortalama 4.3 saat televizyon izliyor/dinliyor. Özürlü vatandaşlarımız tarafından en çok izlenen/dinlenen kanallar, Kanal D (% 54), Show TV (% 50,3), ATV (%50), TRT Kanalları (%42,1), Star (%37,3) ve Samanyolu (% 21) olarak sıralanmakta. TRT’nin beğenilme nedenlerinin başında yayınlarının kaliteli olması ve haber programlarının iyi olması gelmekte. Kanal D, ATV ve Show TV’nin beğenilme ratingini yükselten ise kanallarında yayınlanan diziler.”

Hafta içi 3 saat olan televizyon izleme süresi %20.5’e, 2 saatlik TV izleme oranı ise %17.2’ye çıkmıştır.

– Hafta içi kadınlar 4,5 saat, erkekler ise 4,1 saat TV izlemektedirler.
– Hafta içi en çok TV izleyen yaş grubunun 41+ olduğu ve 4,5 saate ulaştığı görülmektedir.
– Hafta içi evliler 4,4 saat ile en çok TV izleyen grubu oluşturmaktadır.
– Eğitim düzeyi azaldıkça TV izleme oranının arttığı görülmektedir.
– Hafta içi emekli ve işsizlerin 5 saat TV izlediği görülmekte, bu grubu ev hanımı ve çiftçiler takip etmektedir.
– Hafta içi 5,2 saat ile Akdeniz Bölgesinin en çok TV izleyen bölge olduğu görülmektedir.
– Hafta içi TV izleme saatleri incelendiğinde %70,9 ile 18:01-21:00 saatlerinin en çok izlenen saatler, %15 oranı ile 12:01-15:00 saatlerinin ise en az izlenen saatler olduğu gözlenmektedir.
– Hafta sonu TV izleme sürelerine bakıldığında 6 saatlik TV izleme süresinin %15,8’i, 4 saatlik TV izleme süresinin %15,7’yi oluşturduğu görülmektedir.
– Hafta sonu erkekler 4,6 saat, kadınlar ise 4,5 saat TV izlemektedirler.
– Hafta sonu evlilerin 4,6 saat TV izlediği görülmektedir.
– Hafta sonu 5,5 saat ile Akdeniz Bölgesi en çok TV izleyen bölgeyi oluştururken, Doğu Anadolu Bölgesi 4 saat ile en az TV izleyen bölgedir.
– Hafta sonu TV izleme saatleri incelendiğinde % 68,7 ile 18:01-21:00 saatlerinin en çok izlenen, % 14,8 oranı ile 09:01-12:00 saatlerinin ise en az izlenen saatler olduğu gözlenmiştir.
– Televizyon programlarının izlenme sıklığı verilerine bakıldığında %93,7 ile haberler, %86,2 ile yerli diziler ve %61,8 ile dini programlar sıralanmaktadır.
– Televizyonlarda yayınlanması istenmeyen program türleri sıralaması şu şekildedir: %63 ile kadın kuşak-izdivaç programları, %50,3 ile magazin programları ve %22,7 ile spor programlarıdır.
– Araştırmada deneklerin %60,3’nün reklamları gördüğünde kanal değiştirdiği sonucuna ulaşılmıştır.
– Araştırmaya katılan deneklerin iletişim araçlarına duydukları güven düzeyi incelendiğinde %47,1 ile en çok radyoya güvendikleri, %42,2 ile ise en az televizyona güvendikleri görülmektedir. İnternete olan güven düzeyinde artış olduğu da gözlenmektedir.



[…] Televizyon dizileri, günümüzde Türk televizyonlarında en çok rastlanılan ve televizyon ile en çok bağdaĢtırılan tür olarak görülmektedir. Mutlu‟ya göre, bu türün alt kategorileri, genellikle ana karakterlerin mesleklerine göre ayrıĢabilir. Bu duruma, polisiye ve dedektif dizileri, avukat veya doktorlar üzerine kurulu olan diziler örnek verilebilir. Bunlar içerisinde en popüler olanı da polisiye türünde olanlardır.

Mutlu‟nun da belirttiği gibi, televizyon dizileri ve seriyaller, televizyonun en ayırt edici türleridir. Dizi ve seriyaller birbirinden farklı türler olarak ortaya çıkmıĢlardır. Diziler, ortak karakterlerin ve genellikle ortak mekânların kullanıldığı, anlatılan hikâyenin genellikle aynı bölüm içerisinde çözüme kavuĢtuğu, televizyon oyunlarına benzeyen bir yapıya sahiptir. Oysa seriyaller, merak unsuruna dayalı, devamı izleyici merak ettirilerek sağlanan bir program türüdür. Seriyalleri oluĢturan bölümlerin her birinde, daha büyük bir hikâyenin parçaları verilmektedir. Dolayısıyla, ana bir olay dizisi sonucunda tamamlanan hikâyenin içinde aynı zamanda, yan olaylar da yer almakta, bu nedenle seriyaller çok uzun sürmektedir. Ġçinde drama barındıran bu tür izleyicide bağımlılık da yaratır. Seriyal ne kadar uzun sürerse, o kadar izleme alıĢkanlığı yaratır. Bu izleme alıĢkanlığı sürdüğü müddetçe dizinin baĢarı ölçüsü artmaktadı.

Günümüzde ise dizi ve seriyal arasındaki sözü geçen anlatı farklılıkları bulunmamaktadır. Her iki tür de anlatı yapısı olarak birbirlerinin özelliklerini göstermektedir. Ġzleyicinin sonraki bölümü izlemek için merakta bırakılması her iki tür için de ortak bir özellik olarak göze çarpar. Televizyon dramasında öykünün eksenindeki iliĢki ağı, karakterler ve formata bağlı olarak değiĢen alt türlerden söz edilebilir. Bu alt türler arasında dedektif dizileri, polisiyeler, hastane melodramları, bilim kurgu ve fantezi diziler, televizyon filmleri, soap operalar ya da pembe diziler ve durum komedileri sayılabilir. […]

See also : 

Reports : ISMMMO


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

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

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

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

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

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


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


Cf. also : 


“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

Reports : TUIK


There are 12 parts in the publication: cultural heritages, archives, libraries, newspapers, periodicals and books, art galleries, theaters, operas and ballets, orchestra, choir, group, cinemas, cultural and scientific activities, participation in and time spent on cultural activities and religion. Published in the cultural heritage in museums, the current work, the museum and the ruins of public information such as number of visitors and receipts are included. Archives section, research related to open archives to statistics are available. Libraries section; National Library, university libraries, public libraries, formal and non-formal education institutions belonging to the library information is available. In the print media, newspapers and magazines, according to the number of broadcast area, circulation, such as the frequency of publication statistics are also included. Publications also, art galleries, theater, opera and ballet and cinema with the information to the cultural and scientific activities, and participation in cultural activities and religious issues of time allocated to the various statistics are included.
Data on the number of enterprises, employment and payments, number of hours worked by employees, total purchases of good services, turnover, production value, value-added at factor costs, change in stocks, fixed-capital investments and sales given by Statistical Classification of Economic Activities in the European Community. (NACE Rev.1.1) and Classification of Statistical Reginal Units (SRE).
This publication, broadcasting institutions data, economic activities, number of persons engaged, size of broadcasting, current expenditures, revenues of institution, type of programmes, broadcasting times of programme etc. related to institutions and values for variables such as production value and value added data are presented to use.
In this publication, there is information about participation level, participation frequency in cultural activities by sex and socio-economic characteristics, average time spent for cultural activities are given by main cultural activities. In addition, internet use, and entertainment activities which are closely related to cultural activities are given as separate parts in the publication.

Reports : DCMS


These are the most recent statistics for the Creative Industries, published December 2011:

  • creative industries contributed 2.9% of the UK’s Gross Value Added in 2009, this is an increase from 2.8% in 2008
  • 1.5 million people are employed in the creative industries or in creative roles in other industries, 5.1% of the UK’s employment
  • exports of services by the creative industries accounted for 10.6% of the UK’s exports of services
  • there were an estimated 106,700 businesses in the creative industries on the Inter-Departmental Business Register (IDBR) in 2011, this represents 5.1% of all companies on the IDBR
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