“Double Standards at RTÜK?” – Bianet

“After the Radio and Television Supreme Council’s critical statement on the Israeli attack of aid ships for Gaza, Abakay from the Contemporary Journalists Association expects a statement from RTÜK on violations of press freedom in Turkey.

“Good morning! On which mountain did Kurds die?” – this is how the President of the Contemporary Journalists Association (ÇGD), Ahmet Abakay, addressed the Radio and Television Supreme Council (RTÜK) in reference to the council’s statement on the Israeli attack on the aid ships for Gaza on 31 May. RTÜK had condemned the “interference against the freedom to obtain information and the media’s freedom to publish news and opinions”.

In their announcement, RTÜK had said, “Israel did not only unlawfully murder innocent people but also committed media terrorism”. Abakay condemned the Israeli attack and commented RTÜK’s statement, “This is unbelievable, how did that come to their mind?”(…)”

Source : Bianet

Projet de thèse initial (Mai 2010)

Ce projet de recherche est le résultat d’une volonté constante de décloisonnement entre deux milieux : le culturel et l’urbain. Mon tropisme vers le milieu culturel m’a à un moment extrait de l’architecture qui est ma formation initiale pour chercher des domaines transversaux. Lors de mon diplôme d’architecte DPLG, j’ai découvert des acteurs culturels privés en constant dialogue ou conflit avec le politique (Mains d’œuvre à St Ouen, compagnie Là Hors De à La Duchère, Lyon, …) mais toutefois participant à l’évolution du cadre urbain… première rencontre avec les « Nouveaux Territoires de l’Art » (sic. Fabrice Lextrait). Afin d’acquérir suffisamment d’outils intellectuels et pratiques pour comprendre la démarche artistique, politique, mais aussi l’économie de ce milieu culturel engagé dans l’espace public, j’ai entamé et obtenu un master 2 professionnel intitulé « Projets Culturels dans l’Espace Public ».

Ce cursus m’a ensuite permis de travailler dans la coopération culturelle internationale espagnole au Mexique (2008-2009), puis pour la coopération culturelle française en Egypte (2009-2010), où j’ai pu découvrir la difficulté pour ces institutions européennes à mener – ou à s’emparer – de projets culturels internationaux complexes, lourds budgétairement, malgré l’intérêt qu’ils suscitent chez tous les acteurs, y compris locaux en termes de développement économique et humain.

Résumé du projet de recherche, problématique :

Dans un contexte de compétitions entre les territoires les obligeant à se mettre en valeur sur la scène nationale et internationale, les plus grands évènements culturels (macro-événements] célébrés ces 10 dernières années dans les grandes villes européennes répondent à des impératifs de développement culturel local ou régional, induisant des enjeux et des effets urbains. Nous nous proposerons donc d’étudier s’il est possible d’offrir une méthode d’évaluation de ces politiques culturelles et urbaines incluses dans ces « macro-événements » culturels depuis un point de vue historique, politique et urbanistique en s’intéressant  plus particulièrement au rôle des acteurs privés.

Ce projet de recherche se propose donc d’analyser des dynamiques d’acteurs du développement culturel et urbain en se focalisant sur les acteurs privés prenant part au développement culturel du territoire. Nous prendrons pour terrain d’étude une métropole en mutation à la frontière de l’Europe ayant gagné le titre très convoité de « Capitale européenne de la culture 2010» : Istanbul. Cette ville est également choisie pour ses ressemblances géographiques et urbaines avec d’autres villes qui ont accueilli – ou accueilleront – des manifestations culturelles d’envergure internationale, comme Barcelone et son Forum universel des Cultures en 2004, comme Marseille future capitale européenne de la culture en 2013, et d’autres actuellement en compétition pour le même titre en Espagne en 2016, telle Tarragone. Toutes ces villes ont pour point commun de posséder un front de mer sur la Méditerranée, des friches industrielles à réinvestir, une économie tertiaire en développement, ainsi qu’un vivier culturel (privé et public) important.

Une préoccupation importante des acteurs publics et privés des territoires est celle de la question de la durabilité du développement – économique, social, culturel, urbain – qu’ils cherchent à insuffler, ce pour des raisons diverses selon le statut de ces acteurs et leur rapport à la puissance publique.

Avant de mesurer ce développement et son degré de « durabilité », nous nous demanderons si les définitions existantes du développement prennent en compte la question culturelle, et quelles notions (notamment celles de « paysage culturel », de « diversité culturelle », « industrie culturelle »,…) sont pertinentes et peuvent servir d’outils conceptuels à cette mesure.

Une fois défriché ce thème et identifiés les macro-événements culturels considérés comme  des instruments de coopération pour le développement local, ainsi que sur les particularités propres à Istanbul, nous étudierons quels sont les acteurs existants et les conditions dans lesquels ils évoluent : quels instruments réglementaires ou diplomatiques, quels enjeux, quelles évolutions ? Et surtout – car nous nous intéresserons aussi à des projets en cours – quels sont les conditions et les processus de prise de décision pendant ces projets.

Après exploration de l’état de la question sur les caractéristiques des projets culturels d’envergure internationale, il s’agira de donc de :

  • Situer la coopération culturelle privée et publique dans le champ de politiques libérales ;
  • repérer les textes, notions et concepts référents sur les questions de coopération culturelle internationale et de développement urbain (Agenda 21 de la culture, traité de Lisbonne, …) ;
  • contextualiser la problématique du développement culturel d’Istanbul dans son histoire politique et urbaine récente (1980-2010) ;
  • repérer et avoir des entretiens avec les protagonistes principaux de ces projets, au niveau local, international et transnational afin de discerner les spécificités de leur action et les processus de décision en œuvre ;
  • rechercher des indicateurs et une méthode (en précisant leurs caractéristiques et limites) permettant l’évaluation du ou des projets de développement culturel, et de proposer des pistes d’amélioration de la stratégie mise en œuvre dans une perspective de démocratisation des processus.

Objectifs :

  • Définir des liens entre la culture et l’urbanisme dans les politiques de coopération pour le développement culturel ;
  • Identifier les processus de prise de décision, les conditions existantes ou nécessaires a un développement culturel et urbain ;
  • Identifier les processus clés dans l’élaboration des projets culturels prenant en compte le développement urbain ;
  • Identifier des indicateurs et des instruments de développement culturel et urbain ;
  • Préciser le cadre réglementaire et culturel européen des macro-projets étudiés ;
  • Proposer une méthodologie d’évaluation des effets urbains des projets culturels européens.

Projet professionnel :

Le projet professionnel au bout de cette recherche pourrait être résumé ainsi : être en mesure – en tant qu’organisateur d’événement, de maîtrise d’ouvrage ou encore de conseil auprès du politique et du privé – d’apporter une expertise et un pouvoir de proposition stratégique dans le cadre de ces macro-projets culturels, prenant en compte les paramètres politiques, économiques, culturels et urbains en jeu.

Hypothèses :

Les principales hypothèses de travail de cette recherche sont les suivantes :

  • Il existe un lien réciproque entre la forme urbaine et la culture spécifique d’un territoire ;
  • Les projets culturels d’échelle internationale ayant pour partie des acteurs publics cherchent à pérenniser « durablement » l’action publique, laquelle se traduit en termes urbains et en termes qualitatifs et quantitatifs de développement ;
  • Les fondations en particulier et les acteurs privés sont parfois en situation de délégation de service public, et parfois en posture de proposition vis-à-vis du politique.
  • Pour prendre en compte la culture dans le développement urbain « soutenable » il est nécessaire de redéfinir la notion de richesse(s) culturelle(s) d’un territoire ;
  • Plus que le contenu des événements sélectionnés durant les macro-projets culturels, les processus de décision et plus généralement le contexte de prise de décision sont des éléments essentiels pour garantir un développement urbain et culturel ;
  • Il est possible de donner un cadre d’évaluation des conditions de développement des projets culturels, afin d’anticiper ou du moins de prévenir leurs effets qualitatifs ou/et quantitatifs ;
  • Le concept et le cadre théorique du terme de « paysage culturel » sont une base pour développer une méthode d’évaluation du développement culturel, dans la mesure où il prend en compte la culture, l’économie et l’urbain.

Méthodologie :

Dans sa globalité, la méthodologie de ce projet correspond à un travail de définitions itératives qui, depuis des concepts généraux (« développement », « réhabilitation », « richesse », « diversité culturelle », « durabilité »…) aborde progressivement la question des instruments pratiques pour arriver à prendre en compte les effets urbanistiques des projets culturels.

Il s’agit ici de tenter une approche ouverte, interdisciplinaire, pour comprendre comment le partage de certains concepts débouche sur des règlements et des processus, et comment rétroactivement les objectifs de ces règlements et processus ont des effets sur l’urbain. Cette approche est essentielle car nous tenterons de tracer ici des filiations entre philosophie, droit, urbanisme et évaluation socio-économique.  

Plus précisément, la méthodologie de recherche qui sera suivie durant cette thèse se décompose ainsi :

  • Définir un cadre théorique de réflexion et d’analyse, prenant en compte l’évolution historique des concepts utilisés, afin de préciser les liens entre politiques, culture et développement ;
  • Discerner à la fois dans le corpus bibliographique et parmi les projets culturels propres à chaque ville de référence les points de comparaison pertinents afin de préciser l’angle de recherche comparatiste ;
  • Définition du contexte historique et politique en jeu des projets culturels étudiés, au niveau global et au niveau local ;
  • Définir le cadre réglementaire des projets culturels étudiés ;
  • Etudier les processus de décision tout en identifiant les différents acteurs ;
  • Identifier des indicateurs tout à la fois pertinents dans le champ culturel et dans le champ urbain ;
  • En accord avec le cadre théorique précédent, élaborer un modèle général d’évaluation des projets culturels ;
  • Eprouver les limites de ce modèle en l’appliquant à un exemple particulier de projet culturel.

Résultats attendus :

  • Des indicateurs culturels comme autant d’éléments d’évaluation des projets culturels européens, permettant d’identifier les effets urbains induits ;
  • Une analyse critique et des recommandations pour des projets culturels futurs ;
  • Une liste de recommandations et de bonnes pratiques à destination des acteurs des projets culturels européens (acteurs privés et fondations en particulier), visant une continuité de l’action privée avec l’action publique.

Etat des savoirs :

Ce travail se propose de croiser plusieurs thèmes : urbanisme, politique culturelle, développement durable, méthodologie d’évaluation de projets. De ce fait les sources bibliographiques sont multiples :

Sources primaires :

  • Textes de règlementation internationale, communautaire et nationale sur la culture et le développement : ICOMOS, PNUD, Union Européenne, gouvernements, régions et intercommunalités ;
  • Publications des statistiques culturelles dans les pays et régions étudiées ;
  • Documents publics publiés par les différents acteurs des projets culturels étudiés ;
  • Méthodes de construction de projet culturel publiées par les institutions parapubliques ;

Sources secondaires :

  • Philosophie et sociologie traitant des notions d’ « événement », de « culture », « territoire », « durabilité », « développement », « paysage culturel », « diversité culturelle », « indicateurs culturels » ;
  • Articles de presse traitant des effets ou du contexte politique et culturel des projets culturels étudiés ;
  • Publications scientifiques et thèses traitant des exemples étudiés ;
  • Entretiens avec les acteurs impliqués dans les projets culturels étudiés ;

Aide à la structuration du travail de recherche :

  • Thèses doctorales traitant des notions abordées ;
  • Bibliothèques universitaires de l’IFEA (Istanbul), l’UPC (Barcelone), de l’EHESS (Paris), de l’Observatoire des Politiques Culturelles (Grenoble) ;

On pourra également identifier diverses sources sur le thème de la culture et du développement territorial, à Barcelone ou à Paris :

  • Villes et gouvernement Locaux Unis, Barcelone ;
  • Archives municipales d’Istanbul, Barcelone et Marseille ;
  • Le Centre de la Culture Contemporaine de Barcelone ;
  • La Maison de l’Europe, Paris ;
  • Relais Culture Europe, Paris.

“Les séries turques diffusées dans 36 pays” – Zaman France

“En visite dans la province de Mardin pour visiter le plateau de la série TV “Aşk Bir Hayal” (L’amour est un rêve), Çelik a fait remarquer qu’un nombre croissant de séries télévisées turques sont diffusées sur les chaînes du Moyen-Orient, des Balkans et des nations turcophones et qu’elles brisent constamment les records d’audience de prime-time.

“Il y a un grand intérêt pour la Turquie à travers le monde. En outre, de nombreuses sociétés de production cinématographique désirent tourner des films ou des séries télévisées en Turquie où elles sont fascinées par la beauté naturelle du pays qu’on voit dans les séries télévisées turques”, a noté Çelik, soulignant aussi que certains films étrangers et projets télévisés sont actuellement en préparation pour être tournés en Turquie. […]”

Source : Zaman France

“The Perception of Turkey in the Middle East: Soap Opera Diplomacy?” – CIPE

“Given the Ottoman Empire’s history in the Middle East, Turkey’s secularism upon the founding of the republic has left many with a less than favorable perception of the country among Arab states. However, the tide seems to be changing. Anyone who has lived in the Middle East or at least visited an Arab household has witnessed the predominance of a soap opera culture that engrosses men, women, and children alike. One of the most popular soap operas in the Middle East currently is in fact a Turkish series entitled Gumus (or Noor in Arabic), and it’s safe to say that it has helped “conquer hearts and minds in the Arab world.”

It’s not just the striking good looks of the lead characters that appeals to the Arab viewers; the series also tackles contentious norms that a male-dominated region would otherwise sweep under the rug. The show’s courage in taking on these issues has struck a chord with audiences beyond Turkey, providing a fine touch of cultural diplomacy to complement the Turkish government’s broader initiatives.

The German Marshall Fund held a roundtable discussion April 21 on a recent survey released by the Turkish Economic and Social Studies Foundation (TESEV, a former CIPE partner) that measured the perception of Turkey among seven Arab nations: Egypt, Jordan, Lebanon, Palestine, Saudi Arabia, Syria, and Iraq. Indeed, this “newfound positive image” is also demonstrative of Turkey’s shift in its foreign policy priorities since the 1990s and its ongoing efforts to be an influential player in the region (as seen in the globe-trotting Foreign Minister Ahmet Davutoglu’s numerous trips to the region). Turkey’s growing role as a mediator in the region and Prime Minister’s Erdogan’s heated exchange with Israeli president Shimon Peres at Davos in support of Palestinians following the 2008 Gaza war have slowly led to a warming of opinion for the nation of 72 million. […]”

Complete TESEV report (p.15 for cultural analysis)

Source : CIPE

 

“Leave it to Turkish soap operas to conquer hearts and minds” – The Middle East Channel

Source : The Middle East Channel

” Who said that capturing hearts and minds in the Muslim world is mission impossible? It’s just that the United States hasn’t figured out the right way to do it. Sometimes, it seems the U.S. government still thinks that public diplomacy is exchange students and a few diplomats who can speak Arabic and struggle on satellite television in the region to explain U.S. foreign policy.

Welcome to the power of the stars! I am not talking about the ones in the sky, but rather a handful of good-looking blond and dark Turkish movie stars who are taking the Arab world by storm. Four-hundred years after a nasty occupation of Arab land by the forefathers of these young Turks, the Arab world is embracing Turkey, opening its living rooms and flocking around their television sets to watch over 140 episodes of second-rate Turkish soap operas that don’t even do well in Turkey itself.

If only the sultans knew that it could be done on the cheap, they could have dispatched these handsome men and beautiful women and assembled them to conquer hearts and minds in the Arab world on their behalves, saving the treasury endless amount of cash.

But how could how this state of affairs be?

Quite simply, the Arab world is taking to these soap operas like a duck to water. The final episode of the most famous one — broadcast on MBC TV — called Gumus (or Noor as it’s known in Arabic), pulled in 80 million viewers from Morocco to Palestine. For Saudi women, the example of the main Muslim character “Muhanned” treating his wife well was an especially powerful one. And the message was clear: Islam is not the reason why they were being ill-treated by their own husbands. The idea of watching Muslim men and woman who share the same values and cultural background with their brethren in the Middle East is a very appealing one because it raises taboo subjects and challenges conservative values by someone from within, as opposed to an outsider.

The Turkish soaps have been daring and candid when it comes to gender equality, premarital sex, infidelity, passionate love, and even children born out of wedlock. Coming from a Muslim country like Turkey (even one imbued with a strong secular identity) made it easy to penetrate the thick walls of conservatism in the Arab world where bigotry and misogyny often masquerade as “moral” or “ethical” issues.

As a result of the popular soaps (which by the way are watched not only by women but entire households), Turkey has carved out a strong place for itself on the Arab street. Thousands of rich Gulf Arabs flock to Turkey on every occasion, as Istanbul has lately rivaled London and Paris as a favorite tourist destination. While enjoying touring the Topkapi Palace or reminiscing in the glory of the Muslim empire, Arab tourists also hope to catch a glimpse of the handsome actors as they film in one of Istanbul’s many suburbs. In 2009, Arab tourism to Turkey took a dramatic rise, including a 21 percent rise from the United Arab Emirates and a 50 percent rise from Morocco.

Since Noor’s inception in 2006, there have been a slew of other Turkish soaps on Arab screens, the latest of which, Asi, is an adaption of Jane Austen’s novel Pride and Prejudice. Its main leading characters were played by two rising stars, Murat Yildirim and Tuba Buyukustun. Both are becoming instant celebrities in the Arab world, with some reports even suggesting that one of them was requested for an audience with a member of the Saudi royalty. The soaps’ success lay on several elements: the quality of production, the stories of ordinary people wrapped in glamorous lifestyles, and the easy-to-listen-to Syrian accent in which these soaps are dubbed. The Turkish actors in these shows have become known throughout the Arab world by their translated character names — whether “Muhanned,” “Amir,” “Lamis,” or “Noor” — and many viewers don’t even know their real Turkish names.

The broader impact of the story is that a simple television production can be utilized as a potent social tool to effect change and influence thinking — and in the process win a few million hearts and minds. And Turkish soaps are not just about romance, glamour, and secular values wrapped under a Muslim banner. A new soap with more overt political overtones has recently gone on air on MBC (where I am a reporter). Sarkhet Hajar as it is known in Arabic (Cry of a Stone) is the latest Turkish soap causing a frenzy among the Arab viewers. It depicts the daily life of Palestinians under Israeli military occupation, and it looks like a dramatization of a daily news bulletin. In response, blogs and websites have been going wild debating its influence. It was filmed in Turkey, the West Bank, and even inside the al-Aqsa mosque. Although it mainly focuses on the suffering of Palestinian civilians, it also digs deep into the division among the Palestinian factions and talks about taboo issues such as honor killings. It even dares to raise the hitherto unthinkable: a love story between an Israeli Shin Bet officer and a beautiful young Palestinian activist.

In the end, Turkey and its government should be thankful to the soap stars who are conquering hearts and minds on their behalf — and on the cheap. The government can claim the benefit and ride a wave of popular support among the Arab masses, something which burnishes Turkey’s already popular image in the Arab world (indeed, Turkish Prime Minister Receip Tayyip Erdogan is already considered a hero on the Arab street due to his strong show of solidarity with the Palestinian people). Between topics including romance and social upheaval that rattles traditional values, and highlighting the Palestinian cause, one can see a blurring of the lines between art and reality, and the effect one has on the other.”

Source : The Middle East Channel

“RTÜK in Control again?” – Bianet

“According to a drafted amendment of the Law on Radio and Television Broadcasting Institutions and Publishing Rights, the limit of foreign investment shall increase to 50 percent and RTÜK shall take over supervision and the ascertaining of the number of viewers.

The government plans to amend the Law on Radio and Television Institutions and Publishing Rights (no. 3894) as a supposedly required step on the way to the accession to the European Union. Due to the amendment, the maximum share of foreign capital shall be increased from 25 to 50 percent. Should the amendment be ratified, a foreign private person or a legal entity can become a direct shareholder of two broadcasting institutions.

Another amendment proposes the transfer of supervision from the Turkish Radio and Television Corporation (TRT) to the Radio and Television Supreme Council (RTÜK). Accordingly, provisions regarding special regulations for public and private broadcasting organizations would be lifted. (…)”

Source : Bianet

“Turkish industry bodies plan new TV ratings committee” – Research-Live

TURKEY— Three industry associations have joined forces to revamp TIAK, the joint industry committee for TV ratings in Turkey, after the country’s Competition Board ordered the body to restructure.

TIAK was initially given a 90-day deadline to restructure itself, hire professional staff and make its methodology publicly available, having been found by the Competition Board to be “lacking in structure and technical ability”.

That deadline expired yesterday, however TIAK has been given a 60-day extension after the chairman of the Advertising Association (RD), the Association of Advertisers (RVD) and the TV Broadcasters’ Association agreed to establish a new association to replace the existing TIAK set-up.(…)

Source : Research-Live

“Turkish soap operas in the Arab world: social liberation or cultural alienation? ” – Arab Media & Society

http://www.arabmediasociety.com/?article=735

“In 1980 oil magnate J.R. Ewing was shot and injured in the hit series Dallas, which featured an unconventional family’s struggles over power, wealth and sex. The shot was heard around the world, with millions of fans desperately wondering “Who shot J.R.?”. It was the first time that a TV series had captivated simultaneously so many people around the world. Five years later, the Arabs were shooting at the stars with the launch of the first Arab satellite system, Arabsat-1. Except for experts and visionaries, no one was predicting that it was “the beginning of the end” for the state domination of television in the Arab world.

Almost a quarter of a century later, on August 30, 2008, 85 million Arab viewers were glued to their TV sets for the finale of the Syrian-dubbed Turkish soap opera, Gümüş1 (Noor2 in Arabic), a Kanal D production that received little attention in its homeland in 2005. After falling in the past for Victoria Principal, Ridge Forrester, and Latin American telenovela characters Kassandra and Rosalinda , Arab audiences are now turning to Turkey, a close yet estranged neighbor with whom they share a tumultuous history.

The mastermind behind this phenomenon has been the MBC (Middle East Broadcasting Center) media empire, a combination of Saudi capital and Middle Eastern know-how, and a success story that started in the 1990s with the birth of a private Arab media field. As Naomi Sakr explains, many factors fuel the field’s potential including the fact that “Media flows are (…) facilitated where the language is shared3”. The Arab market is indeed unique: a large and essentially young audience with some 20 countries sharing a common language. Researchers have thus observed a relative “depoliticization” of media over the years with the progressive development of mass entertainment programming. […]”

Link to complete article in pdf

Source : Arab Media & Society

 

 

“Dizi sektörü Türk sinemasını kurutuyor” – Sol

“DİSK’e bağlı Sinema Emekçileri Sendikası (Sine-Sen), dizi sektörünün Türk sineması üzerindeki olumsuz etkilerini değerlendiren ve sektördeki orman kanunlarını bir kez daha gündeme getiren bir açıklama yayımladı.

“Televizyon dizisi sektörü Türk Sineması’nı bozuyor mu?” başlıklı açıklamada, sinemanın bir yan ürünü olarak değerlendirilebilecek olan, ancak sanatsal değeri son derece tartışmalı olan televizyon dizilerinin sinema filmi üretimini ezici şekilde katlayan bir üretim ölçeğine ulaştığı ve dizi sektörünün yarattığı orman kanunlarının tüm sektöre egemen hale geldiği vurgulandı.

Sine-Sen’in paylaştığı verilere göre, Türkiye’de bir yılda yaklaşık 90 adet sinema filmi üretiliyor. Buna karşılık, her hafta 40 ila 70 adet, uzun metrajlı filmlerle aynı uzunlukta (90 dakikalık) TV dizisi bölümü çekiliyor. Yani, kaba bir hesapla, sinema sektörünün bir yılda ürettiği görüntü, TV kanallarında iki haftada üretiliyor.

Sinema filmi sektöründe üretim oldukça kobileşmiş durumda. Bu üretim tarzında senarist, yönetmen ve yapımcı genellikle aynı kişide toplanıyor. Üretilen filmlerin %90’ı küçük bütçeli ve gösterim olanağı bulamayan yapımlar. Küçük bütçeli sinema filmlerinin maliyeti, kabaca, 2-3 TV dizisi bölümüne denk geliyor. Bu küçük bütçeli filmleri üretenler, Kültür ve Turizm Bakanlığı’nın ulufe gibi görerek dağıttığı destekleri alıp, üstüne borç-harç ekleyebildikleriyle kendi yağlarıyla kavrulmaya çalışıyor. Yani kısaca, sinema sektöründe bir elin parmaklarını geçmeyen büyük yapım dışında ‘para dönmüyor’.” […]

Source : Sol

“Private TV Channels Take Flak from RTÜK ” – Bianet

“The Radio and Television Supreme Council admonished ATV Europe by reason of the news about the population ratio of one woman in six men in Mongolia. The Council furthermore required justifications from Show TV, ATV, Star TV, Flash TV and Cine 5.

The Radio and Television Supreme Council (RTÜK) decided to issue a warning to the private Turkish television channel ATV Europe on the grounds of their news regarding the population ratio of one woman in six men in Mongolia, saying that “the Mongolian people asked for 20,000 men from Turkey”. The Supreme Council moreover decided to request justifications from the private television channels Show TV, ATV, Star TV, Flash TV and Cine 5.

The mentioned television channels made news in their main news bulletins on 20 and 21 January about the issue that “20,000 men from Turkey were in demand”. (…) “

Source : Bianet

“Inside job”, a documentary by Charles Ferguson

source : IMDB

Synopsis :

“‘Inside Job’ provides a comprehensive analysis of the global financial crisis of 2008, which at a cost over $20 trillion, caused millions of people to lose their jobs and homes in the worst recession since the Great Depression, and nearly resulted in a global financial collapse. Through exhaustive research and extensive interviews with key financial insiders, politicians, journalists, and academics, the film traces the rise of a rogue industry which has corrupted politics, regulation, and academia. It was made on location in the United States, Iceland, England, France, Singapore, and China.”

source :
IMDB : http://www.imdb.com/title/tt1645089/


“Dizi sektöründe örgütlenmek şart oldu” – Sol

Geçen yıl geceyarısı dizi çekiminden dönen iki set emekçisi trafik kazasında hayatlarını kaybetmişlerdi. Kaynak : Sol

“Türkiye’de kitleleri uyuşturmakta önemli rol oynayan TV dizileri, set emekçilerini de insanlıktan çıkarıyor. Dizilerde çalışan birçok oyuncu, bu tabloya karşı birlikte örgütlenmek gerektiğini söylüyor.

Dizi setlerindeki ağır çalışma koşulları, sektörde çalışan ünlü oyuncuların çıkışları ile yeniden gündeme geldi. Milliyet muhabiri Lube Ayar’ın görüştüğü oyuncular, dizi setlerinde uzun saatler güvencesiz çalışan emekçilerin durumundan rahatsız olduklarını ifade ederek örgütlenmenin gerekliliğine işaret ediyorlar.

Kanalların yeterince reklam arası verebilmek ve birbirleriyle reyting rekabetine girebilmek için gittikçe uzattığı bölüm süreleri 90 ila 110 dakikaya varırken, oyuncular bu sürenin dünya standartlarında 40-50 dakika olduğunu vurguluyor. Bölüm süreleri uzadıkça set emekçileri günde 16-18 saat çalışmaya mecbur ediliyor. Ayrıca yapımcı şirketlerin çoğu sigortasız işçi çalıştırıyor. İşte dizi sektöründe çalışan bazı oyuncuların bu gidişatın nasıl değiştirilebileceği konusundaki görüşleri:” […]

Source : Sol

“Ratings rift rocks Turkish television industry” – Research-live

TURKEY— The Turkish Radio and Television Corporation (TRT) has thrown the Turkish TV industry into turmoil with plans to withdraw its channels from the ratings system run by AGB Nielsen, which is commissioned by joint industry committee TIAK.

News of the withdrawal came in a statement published in Turkish, a translation of which was carried by online news site Today’s Zaman.

In its statement, the broadcaster expressed dissatisfaction with the system, having seen its ratings drop consistently since April 2009.

TRT also reiterated claims it had made previously that TIAK had violated the country’s competition regulations. AGB Nielsen was similarly accused by TRT, however the Turkish Competition Board decided in November that there was no evidence or documents to support the allegations that AGB Nielsen was “exploiting its dominant position in ratings measurement by irregularities and false measurements”.(…)

Source : Research-live.com

“State-owned TRT channels withdraw from rating system” – Today’s Zaman

The Turkish Radio and Television Corporation (TRT) announced yesterday that its channels will no longer be included in audience measurements provided by AGB Nielsen Media Research, which has been conducting TV audience research in Turkey since 1989.

TRT officials said in a written statement that the Television Audience Research Commission (TİAK), the joint industry committee responsible for awarding the contract for managing Turkey’s TV audience measurement system, has violated competition regulations.(…)

Source : Today’s Zaman

“Turkish TV series become subject of Bulgarian documentary” – Hürriyet Daily News

” Bulgarian reporter Kristina Vladimirova has prepared a 15-minute documentary to determine why Turkish TV series have attracted such extraordinary interest in her country. She said the Bulgarian viewers with whom she spoke felt close to the family models in the Turkish series

Several Turkish television series, which began airing on Bulgarian television last summer, have become the subject of a documentary in the country.

More than 10 Turkish TV series, including “Gümüş” (Silver), “Binbir Gece” (1001 Nights), “Yabancı Damat” (The Foreign Groom), “Yaprak Dökümü” (The Fall of Leaves), “Asi” and “Annem” (My Mother) have drawn great interest from Bulgarians. The shows’ high viewer rates have become the subject of a documentary in the country.

In her 15-minute documentary, Kristina Vladimirova, a reporter from the private BTV channel that airs “Gümüş,” “Yabancı Damat” and “Yaprak Dökümü,” talked to scientists and audiences in an attempt to determine why the series have attracted such extraordinary interest.

“When compared to Latin American series, Turkish ones get 50 percent more ratings,” said BTV Program Coordinator Ventzislava Konova.

Given the present dominance of the TV medium, Plamen Bochkov, an anthropologist at New Bulgarian University, said, “If Shakespeare were alive today, he would write scripts for TV series.”

Social psychologist Plamen Dimitrov compared the female characters of Turkish series to heroes in tales such as “Snow White” and “Cinderella,” arguing that the contemporary media has filled the place previously filled by older children’s stories. “There is no emptiness in culture, old children stories have become the themes of TV series,” he said.

Vladimirova said women were always in the background in Latin American TV series because of the strong effect of the Catholic Church. Turkey, however, was a place where modern and traditional worlds met and families were central, she said. “There is a respect for old people in modern Turkish families.”

Vladimirova said the Bulgarian viewers with whom she spoke felt close to the family models in the Turkish series. “The respect for the elderly affected Bulgarians.”

Image of Turks changed

Turkologist Jana Jelyazkova said Bulgarians had different opinions about Turkish people before watching Turkish TV series but that “they have now seen the truth.”

The documentary argues that Turkish TV series have affected Bulgarians’ domestic relations and even name traditions. There are reports that newborn babies were given the names of characters from the series and that Bulgarians’ travel destinations had even changed as well.

“The number of Bulgarian tourists traveling to Turkey has increased by 40 percent. They want to visit the places where TV series are made,” Jelyazkova said.

Source : Hürriyet Daily News