From 'Aşk-ı Memnu' (Forbidden Love). Source : Hurriyet
“The popularity of Turkish TV series on Arab channels, is attracting students at Iraqi universities’ Turkish literature departments. The Turkish Language and Literature Department has become one of the most popular faculties at Iraq University’s Foreign Languages Department. The phenomenon is part of a growth in Turkey’s ‘soft power,’ a sociologist says.
It has long been known that Turkish television series aired in Arab countries have resulted in an increased interest in Turkish culture, yet the shows have also begun attracting more students to the discipline of Turkish literature, according to academics. In Iraqi universities, Turkish literature now trails only English literature in terms of popularity.(…)”
“Samedi 28 mai, aux Subsistances à Lyon, dans le cadre des Assises internationales du roman, organisées par Le Monde et la villa Gillet, la parole était donnée pour la première fois aux séries télévisées et à leurs concepteurs : l’écrivain Richard Russo, les scénaristes Eric Overmyer et Sarah Treem étaient interviewés par les journalistes Robert Polito et Nils C. Ahl.
Depuis vingt ans, l’avènement des chaînes cablées et notamment d’HBO aux Etats-Unis a provoqué une révolution dans l’offre des séries télés. Oui, ils le reconnaissent volontiers, l’un après l’autre : “la fiction télévisuelle vit un âge d’or”. L’expression est de Richard Russo, romancier et scénariste, prix Pulitzer en 2002 pour Le Déclin de l’empire Whithing. Pourtant, Eric Overmyer, co-créateaur de Treme, scénariste des deux dernières saisons de Sur Ecoute, se demande ce qu’il fait aux Assises du roman : “la série n’est pas de la littérature”. Ou encore : “l’auteur de série n’existe pas, il n’est jamais qu’un co-auteur parmi d’autres”. Avec un sourire, il renchérit : “la maquilleuse, la costumière, le directeur des programmes de la chaîne est au moins autant un auteur”.
Tous sont pourtant des écrivains à l’origine. Comme Eric Overmyer, Sarah Treem, scénariste de En Analyse est dramaturge. A la télévision, il s’agit bel et bien d’écrire, mais de manière différente : “on ne dit pas les mêmes choses”. Richard Russo ajoute : “quand j’écris un roman, la moindre description est un enjeu, un défi. Quand il s’agit d’un film ou d’une série, je m’en moque, le spectateur voit sans qu’on ait besoin de lui raconter”. En riant, il revient sur la dimension collective de ce genre d’exercice : “j’ai passé vingt ans à écrire tout seul, c’est plutôt agréable de travailler en groupe maintenant(…)“.
“Do you believe in instilling strong moral and/or religious values, discipline and boundaries in your children? Are you proud of your parenting skills? Can you give two British teenagers the chance to have some much-needed structure in their lives?
These are the questions posed by the British Broadcasting Corporation (BBC), which is looking for a Turkish family to take part in a long-running series on parenting.
“We have made programs examining this interesting issue in countries all over the world but have never been to Turkey. We are very excited about the prospect of coming to Turkey to film and are looking for inspirational parents who are proud of their family and of the way they are raising their own teenagers,” said Rebecca Symons, an assistant producer for Twenty Twenty television in the UK producing the program for the BBC called “World’s Strictest Parents.”(…)“
“Silvana Rachieru, the director of the Romanian Cultural Institute, became interested in Turkish culture during her university years. Over the last five years, she has witnessed the growing interest in Romanian culture in Turkey and vice versa, a phenomenon that has been aided by the popularity of Turkish soaps in Romania.
Romania has retained strong commercial and diplomatic ties with Turkey since the Balkan gained independence in 1878, yet it comes as a surprise to learn of the increasing popularity of Turkish soap operas aired on Romanian TV. Providing a portal into the Turkish way of life and language, such soaps have led to a gradual increase in the number of tourists visiting the country.
“Turkish series are very popular in Romania. [Private channel] Kanal D has three or four Turkish series. It was interesting to see the Romanians’ reactions – they have started to learn a few words in Turkish and to learn about the customs,” Silvana Rachieru, the director of the Romanian Cultural Institute in Turkey, recently told the Hürriyet Daily News & Economic Review. (…)”
“Turkey’s Cukurova Holding is in talks with two U.S. private equity firms to sell as much as 49 percent of its television channel Show TV to finance tax debts, a source close to the matter told Reuters.
Cukurova, which controls the country’s biggest mobile network Turkcell, is talking to KKR and Texas Pacific Group, the source said.
“Cukurova Group wants to keep a 51 percent stake,” he said.
Show TV is valued at at least $800 million and the valuation could easily rise above $1 billion based on a multiple of 12 times earnings, the source said.
Turkcell recently said it received orders from tax offices for the sequestration of the Turkcell assets of Cukurova for 1.68 billion lira ($1.06 billion) due to tax debts.
The source said Cukurova’s other units including Digiturk and Genel Enerji may be subject to stake sales to finance the tax debts.”
“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.”
I used excel’s macros programming (cf. this article for the technique) to gather into one database several informations about the daily audience of television in Turkey since 2004 containing : target group, day of diffusion, name of the program, channel of broadcasting, score of audience, rating, and market share. The period studied in that database runs from June 11th 2004 to May 1st 2011, and represents approximately, so 2500 days and 500.000 different programs referenced.
NA : in order to share those results with turkish colleagues more easily I tried to write this article in English. I apologize in advance for the grammar faults I’ll certainly do. You can post comments if some parts seems not understandable.
I considered that part of my thesis as a complement to other datas I presented into another articles (timelines, TV production informations). On the frame of a scientific research the global intention of this new quantitive work is to prepare, by gathering various quantitive facts or infos about my subject (tv turkish series production from 1970 to now) some sufficient factual backgrounds to lead further qualitative and theorical analysis.
THE DATAS :
Before any consideration I wanted to give some infos giving an idea of the turkish population concerned by the television. In Turkey, for a population of 72 millions inhabitants and 18,3 millions households in 2009, 17,9 millions have a tv (so 96%). It means around 71 millions turks were in 2009 able to watch television at home. (source : EU, MAVISE )
The audiences datas presented below were first produced by AGB Nielsen, then published day by day on Medyatava since June 2004.
According to their website “Nielsen Audience Measurement Turkey has been conducting Television Audience Measurement (TAM) services in Turkey since 1989. Today, the panel represents the urban Turkish population with 2500 households“.
KEY FACTS Population: 72,561,312 total / 60,264,546 urban (2009 population) Panel Size: 2,500 households First data production: 1989
THE PANEL Peoplemeters installed: 3,500 to 4,000 Universe: 51,657,783 (representing age 5+ urban population) Data monitored: Terrestrial, cable and digital satellite Data retrieval via: Phone lines
(Source : AGB Nielsen)
The main critic we could do about the audience survey by AGB Nielsen is the lack of precisions concerning the method they use to obtain their numbers. It’s also interesting to notice that AGB Nielsen is nowadays living the end of a crisis lasting since 2007 between them and the turkish government (cf “revue de presse” and this article), their contract coming also to an end. Anyway the interest of doing this study is the monopolistic position of AGB Nielsen in the audience measurement in Turkey. Even if the figures given by AGB are suspicious, the fact stays that every private channel has to refer to their numbers to decide of a broadcasting strategy.
Another precisions and definitions concerning the reading of the graphs :
Audience rating : from 0% to 100%, 0% meaning nobody watched the program, 100% the whole sample population watched it.
Audience score : from 1st to 100th place. A good score could be a high or low rate depending on the other audience ratings ; it’s relative.
Number of programs : quantity of programs broadcasted.
AB group / TÜM group : groups of population defined by AGB Nielsen. I don’t have yet a lot of information about the groups composition. So as a first exploration, this analysis will just focus on one : the AB group, seeming to be the “high and middle class”, the one interesting the most for advertisement sellers.
AUDIENCE ANALYSIS :
I’ll present therefore a serie of various graphics intending to measure the importance of TV series audience amongst other kind of programs into the grid of the channels. At this step of the analysis the audience analysis can be approached by different ways : the program typologies, the channels grid’s structuration, and the periodicities of audience.
The audience data is a key fact for any channel studied : the audience weights the price of the advirtisement space in the broadcasting grid, and so the capacity of revenue of the channel. The higher audience gets, the more expensive you can sell advertisement. It seems quite important to analyze audiences and its impact on creation considering the behavior of other channels as in Turkey as abroad : for instance it’s well-known in America the channels are monitoring very carefully the audience’s curves and make changes to the contents, to the scenario, to get better audience rates. The situation in Turkey seems to be likewise and any telespectator in Turkey could see what importance and presence got the sponsors into the production of a tv serie.
1/ PROGRAMS TYPOLOGIES
The first graph presented above compares the audience score rates (from the 1st viewed to the 100th) of different categories of programs :
Cartoons, Concerts, Daily Magazines, Documentary, Film Foreign, Film Turkish, Health/Service Education, Humour, Magazines, Meeting/Discussion, Music/Entertainment, News report, Newscast, Politics, Reality Show, Religious, Serials Foreign, Serials Turkish, Sport News, Sporting Events, Sporting Magazine, Studio Programs, Talk Show, Theatre/Cabaret/Musicals, TV Games, Weekly Magazines, Women.
Audience scores analysis by programs typologies (click for a full view)
Reading the graph : We can see on this graph a very distinguished preferences from the audience (10 first rates ) for turkish series and newscasts, the third prefered kind of program being the TV games. The particular observation with this chart is the relative constance of those curves for every typology from 10th to 100th rating score. The interpretation we could do at this point (as a hypothesis) would be the following :
Above another graph in the same spirit but slightly different. In that graph the scores (x axis) are replaced by constant ratings, so the interpretation deals with another fact : the “left-behinds” turkish series programs.
Audience rating analysis by programs typologies (click for a full view)
Reading the graph : In my interpretation of this graph, the “left-behinds” turkish series are the programs in orange at the left side of the graph, composing the big orange curve. Those programs get a very low audience (less than 10% on the x axis) but are massively produced ! That fact seems quite paradoxical but could be seen as an effect of the inflation of the tv series production – the so-called “Yesilcam” era for tv series. It could be explained by the will of producing more and more series, hoping one of them gets good rates. Series being the most successful way to have audience, more producers invent series concepts. Logically this “liberal” way to produce generates more offer than demand, and we can imagine half of series production has just succeeded in starting but not lasting. This could be the dark side of series production : the inflation of ideas and careers left behind because of their lack of capacity to get audiences.
2/ CHANNELS
The previous graphs were more dealing about the repartition of the whole programming between various typologies, without precising on which channels they were broadcasted.
The next graph shows how every channel compose its own grid of programs.
Channel programmation composition by typologies (%) (click for a full view)
The next graph shows the numbers of TV programs rated from 1st to 10th, classified by channels.
Scoring audiences by channel (click for a full view)
There is another way, perhaps more explicit, to show those figures using the percentages.
Audience scoring audiences by channels (%) (click for a full view)
Reading the graph : On the 18 channels presents in the AGB Nielsen datas, only 4 are getting more than 80% of the 10th first rates. So, if we trust AGB sources, the spectators are mostly watching ATV (in blue), KanalD (orange), Show TV (clear blue) and Star TV (pink). It’s also good to notice in the margin that TRT is treated differently by AGB Nielsen since 200…
The interesting fact showed by these numbers is the constance of this repartition in the 10th first rates.
3/ PERIODICITIES
Another important factors of the composition of broadcasting are the cycles of programs typologies choices within a day, within a week, or within a year. The time factor is a complex data to compute on a day-by-day database.
The two next graphics shows clear cycles on year-scale illustrations :
Audience ratings for 1st score by major typologies (click to a full view)Average audience rating by day of broadcasting for the 1st rating score (click to a full view)
Reading the graphs : every summer (between june and august) since 2005 registers a clear decrease of audience. We could also note that turkish series (in blue) gets most of the highest rates the whole year compared to other programs, as we can see by the “clouds” of high rates.
The serie of the next three graphics focuses on turkish series programmation and their periodicity by month :
Turkish series analysis by month - average / quantities (click to get a full view)
Turkish series analysis by month – average / percentages (click to get a full view)
Turkish series analysis by month, year of programmation and audience scores - quantities (click to get a full view)
Reading the graphs : As we’ve seen before, the summer period could be considered as an empty one for series. But here the curves for all audiences scores and 10th first audiences scores are very different : as the total of programs broadcasted is merely stable the whole year (just february, march and june registering a light decrease), the curve of best scores is much more flexible and increase from january to march. We could input that to a big difference of strategy of diffusion between series in general and series gaining the first 10th scores. Perhaps after a couple of month of tests, the less competing series are ended at the benefit of the other, then more broadcasted
Furthermore the last graph shows the increase of serie’s diffusion from 2005 to 2010 in the absolute, with two years having real particularities : 2008 (the month of August for first audience score shows a peak) and 2010 (the absolute quantities of series broadcasted for all scores and for the first score).
The next graph focuses on a week-scale analysis, showing the percentages of programs broadcasted by their typology every day.
Typologies by weekdays (%) (click for a full view)
Reading the graph : Once more we can see the importance of turkish series in the grid compared to other kinds. Series are mostly working-days programs, the saturday and sunday gaining good audiences with other kinds of programs like TV games. For instance the mondays, the first 10th best audiences are usually generated by turkish series (50%), then by newscasts (25%), and the rest stays under 10% or less.
LIMITS AND CONCLUSIONS :
To be understood clearly, I wanted to precise I tried to keep in mind during this study that the figures given by AGB Nielsen should be taken with many precautions : first because of the different complaints opposing AGB and the government on the accusation of manipulating the datas, and secondly because of the absence of another major channels like TRT. So it’s clear AGB figures doesn’t have to be taken as a reflect of the reality of the audience, but as a tool inside the TV production chain.
Taking in consideration those limits the interest of this database lies anyway in the possibility to show how the different program typologies, the channels, the schedule of broadcasting and the ratings are interrelated, constituting a field in a Bourdieusian way to speak. To complete those diagrams by a field analysis, a factorial correspondance analysis would be necessary and should be the main topic of a next article.
As a first conclusion it’s obvious to say turkish series have a strategical importance in the channel’s capacity to get audience, and mechanically to get revenues from advertisement. More than strategical it’s nowadays the first kind of program getting best audiences. This capacity reveals interesting characteristics of the TV production for private medias in Turkey : even if in Turkey the topics of series are very dependent with local cultures and so differentiate production from US, the logic of “market” and the inflation effects related are similar.
A second conclusion to this article would be the help those analysis gave to give more precision to my phd thesis. It’s one thing to know that generally tv series are important in the television panorama, it’s another to be able to give precise datas about it. Furthermore, crossing those reflexions with previous ones, those analysis allow me to choose with more arguments a reduced panel of channels (ATV, SHOW, KANAL D and STAR TV) being the channels whiches are in the same time major producers of TV shows, and the most dependent on audiences rates in their capacity to attract advertisement funding.
“Ce week-end, Xanadu, sur Arte, a réalisé une score atterrant : 50.000 téléspectateurs. Après une première semaine décevante (250.000), c’est carrément l’hécatombe.
La veille, Signature finissait mollement sa course sur France 2, avec tout juste 2 millions de curieux. Quelques semaines plus tôt, Les Beaux Mecs, un peu plus haut (2,7 millions), raccrochaient eux aussi sans avoir véritablement emballé l’audience. Pendant ce temps-là, Joséphine ange gardien et RIS gambadaient sans trop forcer entre 6 et 7 millions de téléspectateurs sur TF1.
Constat : les séries ambitieuses, risquées, qui veulent faire avancer les choses, se ramassent. Même quand elles sauvent les meubles, elles font trois fois moins de téléspectateurs que leurs copines formatées et « grand public. » Combien de temps les chaînes continueront-elles à y mettre de l’argent ? (…)”
“«Mad Men », « Desperate Housewives », « Dr House », « Dexter », « Les Soprano », « Six Feet Under », « Urgences », « Grey’s Anatomy », « Les Experts »… Si aucun de ces titres ne vous fait vibrer, vous pouvez tourner la page. Vous n’êtes pas accro aux séries télé comme ces quelque 90 fans qui ont répondu à un appel à témoignage lancé sur LeMonde.fr.(…)
Car le vrai fan attend rarement la diffusion de la série sur une chaîne française. Il la télécharge et la regarde le plus souvent en VO sous-titrée dès qu’elle est passée dans son pays d’origine, de préférence gratuitement. Pour Marc Zaffran, alias Martin Winckler, écrivain, médecin, passionné de séries et auteur d’un livre sur le sujet (Les Miroirs de la vie : histoires des séries américaines, Le Passage, 2005), l’attachement des fans est dû à un cocktail. Il combine « variété » – il n’y a pas un seul mais plusieurs personnages -, « continuité » – les récits se déroulent sur plusieurs années – et « surprise » – les rebondissements sont nombreux et alimentent le suspense.
« Toutes proportions gardées, les séries remplissent la fonction de narration que l’on retrouve tous les jours en parlant de ses voisins, de ses collègues ou de sa famille, explique-t-il. Les psychologues évolutionnistes estiment que la fiction sert, non seulement, à nous mettre dans des situations hypothétiques, mais qu’elle nous apprend à les résoudre. » Comme une sorte d’imitation de la vie. Baptiste, 18 ans, se reconnaît dans certaines scènes de ses deux séries préférées (« How I Met Your Mother », « The Big Bang Theory »), « ce qui, avoue-t-il, [le] fait réfléchir ».(…)”
Turkish soap opera 'What's Fatmagül's mistake?' focuses on rape issue, which is a new phenomenon, says Küper Büsch. Source Hürriyet
“Sabine Küper Büsch and Thoman Büsch are German independent filmmakers based in Istanbul. Bringing together their respective backgrounds in socio-politics and culture, the pair focuses on producing contemporary documentaries on human rights issues, politics and the arts. They aim to alter some of the Turkish cultural stereotypes present in Europe and strengthen the cultural ties between Germany and Turkey.
(…) Attributing the rise of problems for some women to the growing discrepancy between urban and rural culture, Küper Büsch referred to the popular Turkish soap opera ‘Fatmagül’ün Suçu ne?’ (What’s Fatmagül’s crime?) to illustrate her point. Describing how she hated the TV series at the beginning due to its rape scene, which was repeatedly screened, Küper Büsch commented on the differing opinion between her and her Turkish friend, Hava. “I have a friend who comes here weekly to work and as she grew up in a village close to Ankara, she watches this series every week and likes it. When I asked her why she likes it, she replied that, ‘It’s because it’s how things are.’”
Küper Büsch said the portrayal of rape or sexual abuse scenes on television was a new phenomenon in Turkey, but that she saw it as a sign of progress that women such as Hava from rural backgrounds were accepting these scenes without any problems with the rest of their family. “She [Hava] is from a rural background and she knows the problems of being married against her will and of underage marriage. So what I usually hear from her is, ‘Well it’s terrible what they are showing on this series, but it’s the reality I know and money wins. You cannot change things.’”(…)
“Three main aspects can be identified today that define an “urban question” different from the past: first, the growing distance between the rich and the poor, second, the environmental risks, and third the mobility crises. The ‘question’ is and will be ‘urban’ because it is in the urban context that the largest part of the world population lives. It is in the context of the city that the question is most apparent and gains a sense of urgency.(…)”
“Short and ‘full papers’ The seminar invites full papers that present a coherent piece of research or dissertation chapter, as well as short papers that address methodology, research question or articulate a starting point for PhD research.
Full papers will be organized in thematic sessions. Short papers will be organized in thematic workshops.
Abstract guidelines PhD candidates interested in presenting a paper should submit an abstract of maximum 1000 words by May 21st . The scientific committee, taking into account the interest of the themes proposed, will select the papers to be presented during the seminar by July 8th . Upon selection of the various contributions, we will invite respondents in function of the subject of the papers submitted. The selected papers will be submitted in a final version to the scientific committee and to each respondent before September 15th. (…)”
Depuis le milieu des années 1990, les séries américaines connaissent un nouvel « âge d’or », marqué par des productions de grande qualité, par un engouement international spectaculaire (lié aussi aux nouveaux modes de visionnage – DVD, streaming ou VOD), et par un nouveau respect critique pour la forme elle-même. Ce colloque se propose d’explorer le lien que tissent ces œuvres entre fiction et réalité. Pourquoi, par exemple, certaines réalités semblent-elles se prêter plus particulièrement à la forme sérielle (le monde médical, policier, ou judiciaire par exemple)? Les communications pourront aussi s’interroger sur l’idéologie qui sous-tend les choix de la fiction : quelle fonction la fiction a-t-elle quand elle prend en charge un certain aspect de la réalité (sociale, politique, économique) à un moment donné ? (comme la représentation de l’administration américaine dans The West Wing [A la Maison Blanche], ou la dénonciation des dysfonctionnements institutionnels dans The Wire [Sur Ecoute]).
Les approches plus esthétiques et formelles pourront se pencher sur les modes et stratégies utilisées par ces fictions pour représenter le réel. En quoi consiste le « réalisme » prétendument affiché par certaines d’entre elles, depuis la représentation en « temps réel » de 24 jusqu’à l’utilisation de la caméra à l’épaule dans Californication, ou encore aux détails corporels très crus de Nip/Tuck ? D’autres œuvres, au contraire, témoignent d’une ambition de stylisation ou de caricature (Desperate Housewives), et que dire des mondes fantasmés de Battlestar Galactica ou True Blood, ou du rapport à une quelconque « réalité historique » dans des séries comme Deadwood, Mad Men, ou Rome ?
Ce lien entre fiction et réalité pourra aussi nous aider à réfléchir sur la manière dont ces séries s’inscrivent dans la réalité même des spectateurs. Le processus d’identification et d’appropriation semble atteindre des niveaux sans précédents. Les spectateurs poursuivent l’expérience de « leur » série sur internet, par des discussions, des « re-créations » audiovisuelles, ou tout simplement par la consommation de produits dérivés. Les séries influent par la suite sur la manière dont nous appréhendons la réalité qui nous entoure. De tout temps bien sûr, l’individu s’est construit en partie grâce aux fictions auxquelles il était exposé, mais on pourra s’interroger, lors de ce colloque, sur la spécificité de l’impact des séries sur le spectateur, qui y trouve à la fois le pouvoir hypnotique et séducteur du film de cinéma et le plaisir de la complexité narrative et de la durée plus généralement associé au roman littéraire.
Comité scientifique : Ariane Hudelet (Etudes anglophones, Université Paris Diderot)
Sophie Vasset (Etudes anglophones, Université Paris Diderot)
Pierre-Olivier Toulza (Etudes cinématographiques, Université Paris Diderot)
Marjolaine Boutet (Histoire, Université d’Amiens)
Sarah Hatchuel (Etudes anglophones, Université du Havre)
Monica Michlin (Etudes anglophones, Université Paris IV-Sorbonne)
Thibaut de Saint-Maurice (Philosophe, Lycée Richelieu, Rueil-Malmaison)
Contacts : Ariane Hudelet et Sophie Vasset
Programme du jeudi 5 mai 2011
13h30 : accueil et inscriptions
14h00 : ouverture du colloque (Ariane Hudelet et Sophie Vasset)
Panel 1 : Quelle réalité, quelle fiction ?
Présidente de séance : Ariane Hudelet
14h30 : De quel réalisme la sérialité est-elle la forme ? – Thibaut de Saint-Maurice (philosophe)
15h : Le temps des séries – Jean-Pierre Esquenazi (Université Lyon III)
15h30 : Du roman réaliste à la série télé, la fresque sociale en miettes – Antonia Zagamé (CNRS)
16h30 : Effet de réel contre réalisme dans les séries télévisées contemporaines – Hervé Glévarec (CNRS)
17h : The treatment of the law: between reality and imagination in television legal series – Barbara Villez (Université Paris 8 )
17h30 : Les séries judiciaires : histoires de cour, histoires de cœur. L’écriture dramatique au service de la culture juridique – Nathalie Maroun Taraud (ENS Ulm)
Programme du vendredi 6 mai 2011
Panel 2 : Histoire et histoires Présidente de séance : Marjolaine Boutet
9h : Les séries historiques entre la fiction et le réel : quand les scénaristes rivalisent avec les historiens – Ioanis Deroide (Historien, lycée Richelieu, Rueil Malmaison)
9h30 : “The West Wing with Wigs?”: Politics and History in HBO’s John Adams – Aurélie Godet (Université Paris Diderot)
10h : Les bonds historico-médiatiques de Sam Beckett. Code Quantum, voyage au temps des images -Vincent Baticle (Université Paris Diderot)
11h : Fiction and Reality in TV Series Portraying Presidents: Reality effect, Déjà Vu, Groundhog Day, Prophecy, or Time Warp? – Monica Michlin (Université Paris Sorbonne)
11h30 : « Qumar », le pays qui n’existait pas. The West Wing et le spectre du Moyen-Orient – Joseph Belletante (Triangle, ENS-LSH)
12h : Le remake de la série V et le système de santé universel de Barack Obama: entre réalité et fiction, histoire d’une défaite programmée – Audrey Viguier (University of Florida)
Panel 3 : Réalisme du corps Présidente de séance: Sophie Vasset
14h : Evidence of the Body: Death, Illness and Representation of Truth in Contemporary American TV series – Maria Neklyudova (Russian State University of Humanities, Moscou)
14h30 : Au plus près de la chair : corps malades et corps morts dans les séries contemporaines (titre provisoire) – Maud Desmet (Université de Poitiers)
15h : Deadwood entre réalité et fiction : inscription de l’Histoire, figurations du corps, et jeux de langage – Gilles Menegaldo (Université de Poitiers)
Panel 4 : Esthétiques du réalisme Présidente de séance : Shannon Wells-Lassagne
16h : Mad Men, Nostalgia, and the Aesthetics of Consumption, or: Don Draper Gets an iPhone – Simone Knewitz (Bonn University)
16h30 : Fiction and Reality in HBO’s Treme : A Narrative Alchemy at the Service of Political Truth – Catherine Dessinges, Dominique M. Gendrin, Wendy Hajjar (Tulane University)
Panel 5 : Genres et publics Président de séance – à confirmer
14h : House of mirrors: New realities, new fictions of the suburbs in The Middle – Donna Spalding Andreolle (Université Stendhal – Grenoble III)
14h30 : The L Word : Le réel sous le glamour : ou “The way that they live” – Adrienne Boutang (Université Paris 3 – Sorbonne Nouvelle)
15h : Veronica Mars vs Don Draper : le réalisme des séries adolescentes contemporaines – Pierre-Olivier Toulza (Université Paris Diderot)
16h : Is there a Doctor in the HOUSE ?: les séries télévisées médicales face au monde réel – Pamela Tytell (Université Lille 3)
17h : “Unreal” gender messages in late 90s women-centered action dramas – Anne Sweet (Université Paris 3- Sorbonne Nouvelle)
Programme du samedi 7 mai 2011
Panel 6 : Représenter quelque chose qui n’existe pas : de l’Antique à la science-fiction Présidente de séance : Sarah Hatchuel
9h : Jules César au secours des américains : l’incipit de la série Rome – Julie Gallego (Université de Pau et des Pays de l’Adour)
9h30 : Rome : un péplum enfin réaliste ? – Vivien Bessières (Université Toulouse II, Le Mirail)
10h : Rome ou le grain de l’antique – Isabelle Schmitt-Pitiot (Université de Bourgogne, Dijon)
11h : Occupation, collaboration, résistance et épuration dans la troisième saison de Battlestar Galactica – Marjolaine Boutet (Université d’Amiens)
11h30 : Battlestar Galactica and the Global War on Terror – Lori Maguire (Université Paris 8 )
12h : De Babylon à Caprica: la nouvelle science-fiction télévisuelle et l’effet-réalité – Medhi Achouche (Université Stendhal, Grenoble)
Panel 7: Du crime au châtiment Présidente de séance : Barbara Villez
9h : Quand la fiction irrigue la réalité : les usages sociaux des séries policières dans la fiction policière – Guillaume Le Saulnier (Université Paris 2)
9h30 : Qu’y a-t-il de « policier » dans les séries policières ? – Yann Philippe (Université de Reims)
10h : Entre ombres et lumières : les figures de policiers en eaux troubles, symbole d’une Amérique en perte de repères (The Shield, The Wire, Dexter) – Julien Achemchame (Université Paul Valéry, Montpellier)
11h : La perspective narrative dans les séries « Cop and Lab ». Quelles contributions aux représentations du monde scientifique et technique ? – C. Bruguière (Université Claude Bernard, Lyon), M. Chouteau (INSA, Lyon), C. Nguyen (INSA, Lyon), E. Triquet (Université Joseph Fourier, Grenoble)
11h30 : From Oz to Lockup: Bringing Prison Life (Back) Home – Claudia Schippert (University of Central Florida, Orlando)
12h : Fictions et réalités : principes miroirs ? Castle ou la rencontre de la vie et de l’écrit – Anaïs Kompf (Université Paris Diderot)
Panel 8: L’inquiétante étrangeté Président de séance : Monica Michlin
14h : Twin Peaks, conte de la modernité, modernité du conte – Marine Legagneur (Université Paris 3-Sorbonne Nouvelle)
14h30 : X-Files : allégorie de la condition postmoderne du monde – Frédéric Gai (Université de Caen)
15h : “Reality lies elsewhere? Le néo-réalisme fantastique dans quelques épisodes de X-files” – Emmanuëlle Delanoë-Brun (Université Paris-Diderot)
Panel 9: Déformation et marginalité comme mode de représentation Président de séance : Emmanuelle Delanoë-Brun
14h : “Alan Ball’s California and Louisiana series: a troubled state of the nation” – Anne-Marie Paquet-Deyris (Université Paris X-Nanterre
14h30 : Which is the “True Blood”?: A Reflection on Otherness in Contemporary America – Marta Bosch (University of Barcelona)
15h : Carnivàle entre fiction et réalité historique – Jean Du Verger (Université Paris 5-Sorbonne)
Panel 10 : Conclusion : le vertige post-moderne ou la fusion entre réalité et fiction Président de séance : Pierre-Olivier Toulza
16h : Lost in Lost (le retour): Réalité alternative et/ou fiction collective – Sarah Hatchuel (Université du Havre)
16h30 : Transforming the traditional sitcom: the postmodern reflexivity of Abed in Community – Shannon Wells-Lassagne (Université Bretagne Sud)
17h : Desperate Housewives : fiction de toutes les fictions – Renan Cros (Université Paris Diderot)
“Le 23 mars 2011, le gouvernement britannique a annoncé la création duCreative Industries Council afin de dynamiser les investissements financiers dans ce domaine.
Le 23 mars 2011, George Osborne, le chancelier de l’Échiquier, a annoncé la création du Creative Industries Council (CIC), dans le cadre d’un vaste plan de relance de l’économie du pays. Les « industries créatives », telles que définies par le gouvernement britannique, rassemble au total les secteurs suivants : le cinéma, l’audiovisuel, la musique, l’édition, la presse, la radio, la mode, l’architecture, la publicité, le design, le spectacle vivant et le patrimoine. Les industries créatives représentent actuellement plus de 8 % du PIB du Royaume-Uni et 2 millions d’emplois dans le pays, et constituent la 3ème industrie exportatrice du pays[+].(…)”
“Turkey’s main opposition party has applied to the country’s top court to annul the recently passed broadcasting law governing the Radio and Television Supreme Council, or RTÜK.
The annulment request from the Republican People’s Party, or CHP, specifically targets the clause giving the prime minister the authority to temporarily halt broadcasting. While such a measure could be required to protect national security, the authority could also be used for personal reasons, the party said.(…)“
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
“Three main aspects can be identified today that define an “urban question” different from the past: first, the growing distance between the rich and the poor, second, the environmental risks, and third the mobility crises. The ‘question’ is and will be ‘urban’ because it is in the urban context that the largest part of the world population lives. It is in the context of the city that the question is most apparent and gains a sense of urgency.(…)” 
