Carte des marchés internationaux de contenus audiovisuels (2013)

Travail en cours / dernière mise à jour le 18/03/2013
(en rouge les marchés de 2012 pas encore programmés pour 2013)

See International content markets on a bigger map

(en italique et en rouge les marchés de 2012 pas encore programmés pour 2013)
  1. Brazil TV Forum (BTF) – 4-5/06/2012
    Centro de Convenções Frei Caneca Consolação, São Paulo, SP, Brazil
  2. Bogota Audiovisual Market (BAM) – 9-13/07/2012
    Bogota, Colombia
  3. TIFFCOM – 23-25/10/2012
    Grand Pacific Le Daiba, Tokyo, Japan
  4. Ventana Sur – 30/11-03/12/2012
    Pontifical Catholic University of Argentina, Buenos Aires, Argentina
  5. NATPE Miami – 28-30/01/2013
    Fontainebleau Resort Hotel, Miami, Florida, USA
  6. World Content Market Prague (WCM) – 18-20/02/2013
    Hotel NH Prague, Czech Republic
  7. Rio Contents Market (RCM) – 20-22/02/2013
    Windsor Barra Hotel, Rio, Brasil
  8. DISCOP West Asia – 5-7/03/2013
    Intercontinental Ceylan, Istanbul, Turquie
  9. HKTDC Hong Kong International Film & TV Market (FILMART) – 18-21/03/2013
    Hong Kong Convention & Exhibition Centre
  10. NAB SHOW – 6-11/04/2013
    Las Vegas Convention Center, Las Vegas, Nevada, USA
  11. MIPTV – 8-11/04/2013
    Palais des Festivals et des Congrès, Cannes, France
  12. Festival de Télévision de Monte-Carlo – 9-13/06/2013
    Grimaldi Forum Monaco
  13. Shangai TV Festival (STF) – 10-14/06/2013
    Shangai Exhibition Center, Shanghai, China
  14. World Content Market Odessa (WCM) – 19-21/06/2013
    ОК ОДЕССА ГОТЕЛЬ, Odessa, Ukraine
  15. Istanbul TV Forum (ITVF) – 20-22/06/2013
    Haliç Kongre Merkezi, Turkey
  16. NATPE Budapest – 24-27/06/2013
    Hotel Sofitel Budapest Chain Bridge, Hungary
  17. BCWW – 5-7/09/2013
    Intercontinental Seoul Coex, Seoul, South Korea
  18. Kiev Media Week (KMW) – 10-13/09/2013
    Radisson Blu Hotel, Kiev, Ukraine
  19. MIPCOM – 8-11/10/2013
    Palais des Festivals et des Congrès, Cannes, France
  20. DISCOP Africa – 6-8/11/2013
    Sandton Convention Centre, Johannesburg, South Africa
  21. American Film Market (AFM) – 6-13/11/2013
    Loews Santa Monica Beach Hotel, Santa Monica, California, USA
  22. My Content (MC) – 18-19/11/2013
    World Trade Center, Dubai
  23. World Content Market Venice (WCM) 25-27/11/2013
    Hotel Monaco & Grand Canal San Marco, Venice, Italy
  24. Asian TV Forum (ATF) – 3-6/12/2013
    Sands Expo and Convention Center, Marina Bay Sands, Singapore 
  25. European Film Market (EFM) – 7-15/02/2013
    Martin-Gropius-Bau, Berlin, Germany
  26. Cozumel Content Market (CCM) – ../../2013
    Hotel Park Royal, Cozumel, Mexico

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.[…]”


“Crisis and Turkish serials hit Greek stage ” – Hürriyet

“For the wider Greek public he was Achilleas Lambrou, the insolent, intelligent, leftist corporal in the 1984 film “Lufa ke Parallagi” (Escape Duty and Camouflage), one of the best anti-militarist comedies in Greek cinema. The film satirizes the difficult years of the Greek junta (1967-74) through the hilarious experiences of a group of soldiers doing their military duty in the newly founded TV channel of the Greek Armed Forces. For others, he was once the husband of a leftist heroine of student resistance during the same period, who is presently serving in the European Parliament. But for theater lovers, Yorgos Kimoulis – now in his late fifties – has been one of the most talented actors of his generation, outspoken to the degree of arrogance and admirably capable of defending his leftist views against anyone who would call him an anti-capitalist “utopist.” […]

The news about Kimoulis broke out almost the same time as a similar story hit headlines: another charismatic actor of the same generation with a similar background in theater and TV, Costas Arzoglou, confessed that he may lose his home – the bank had already sent him the date of the confiscation order – as he cannot afford to pay the installments of his mortgage. Like many theater actors, he was financing his theater work by working on TV serials. These are now being rolled over by cheaper Turkish productions and on top of that, he has not been paid for three years of work at one of the biggest channels. “They can take all except my talent,” he says. Only two weeks ago, another actor in his forties, who had made his name mainly from TV serials, committed suicide as he could not cope with financial difficulties.[…]

The statistics tell a dramatic story. Out of the 4,000 registered actors in Greece, almost 80 percent (some claim more than 90 percent) are now unemployed or partially employed with minimal or no salary. About 250 actors work in state theaters and about 1,000 in the 200 or so theater troupes. And of course, this is work per season.

The drastic cuts provided by the austerity packages on Greece imposed by the “troika” of Greece’s creditors hit the state central and regional theaters, which saw a dramatic reduction of their subsidies. The ones that did not close have to choose plays with smaller casts in order to cope with the costs.

Cheaper Turkish serials and low advertising revenue in the TV sector closed the door on Greek actors who thus lost their main source of income. A new type of actor has been born, the one who is willing to participate in any performance without payment, just to remain in touch with the sector.

Nobody knows how long the austerity period will last in Greece. People are just trying to cope with their immediate needs and commitments. So do the actors, as they try to keep themselves linked with the stage. But still, there is a good side to this. The blow that hit the Greek theater as we knew it up to now has left the door open to new, young talents who have entered the stage determined to show their skills.”

Source : Hürriyet

“100 million dollars brought in from sending turkish shows abroad” – Sabah

“The exporting of Turkish television series to the Middle East and Eastern Europe, which have resulted in the soaring popularity Turkish brands, continues at full-force. Bringing in 100 million dollars in exports this year alone, television shows from Turkey are now selling at higher prices than famous U.S. television series.

According to Customs and Trade Minister Hayati Yazıcı, the peaked interest in Turkish television shows abroad has resulted in turning all eyes on this fast growing sector in Turkey. According to Minister Yazıcı, while statistics show that throughout the globe audio-visual exports saw a 4.54 percent growth on average, in Turkey this year the same figure came to 25.98 percent. Turkish shows are taking the monopoly of prime time spots in a wide variety of locations throughout the Balkans, the Middle East and Central Asia.

Turkey’s entertainment sector has been exporting for five years now. Up until just two years ago, Turkey’s entrance in the market was based on a low-price policy, however now some of the nation’s most popular productions are selling for higher than popular U.S. shows such as Mad Men.

İzzet Pinto, CEO of Global Agency is one of the most prominent businessmen selling Turkish television shows all over the world. According to Pinto, Turkey’s popular sprung to life with television shows such as Bir İstanbul Masalı (An Istanbul Tale), 1001 Gece (1,001 Nights) and Gümüş (Silver). “Today, 100 television stations are being exported to 60 countries. This sector results in bringing in 100 million dollars in foreign currency,” states Pinto.

While Turkish shows are already topping the popularity charts in Middle Eastern and Balkan nations, Turkey now intends to dominate the Western European market. İzzet Pinto explains that they are currently launching in France and if they see success they will go ahead and enter nations such as Italy and Spain.

Western interest in Turkish show

The wind of Turkish shows, which undoubtedly blows strongest in the Gulf nations, has now made its way to the Western European segment, which symbolizes strong economy and high social life standards. For the first time ever, a Turkish television show will soon be released on a Swedish state-run television station.

Considered to be Sweden’s version of Turkey’s TRT, Sveriges Television (STV) will soon be broadcasting the popular television series “Son” (The End) which runs on Atv and stars Yiğit Özşener, Nehir Erdoğan and Berrak Tüzünataç.”

Source : Sabah


“Works continue to give TV series to foreigners for free ” – Hürriyet Daily News

“Following a decision taken by from the Culture and Tourism Ministry, Turkish T.V. series’ will start to be aired in a number of countries free of charge. Vice Culture and Tourism Minister Abdurrahman Arıcı has announced that Turkish series’ will be aired abroad with the support of the ministry, in the interest of promoting Turkey in foreign countries.

“With T.V. series’ we can enter every house and spread the influence of Turkish culture,” he said, adding that tourists coming from Middle Eastern countries often visited the venues where T.V. shows were shot.

Turkey has signed deals with seven companies that market T.V. series, films and documentaries to the world, Arıcı said, speaking at the October meeting of the Skal Antalya Club.

According to an article in daily Radikal, while Turkey’s T.V. exports currently amount to a total of $60 million, and the aim is to increase this amount to $100 million. “Magnificent Century” (Muhteşem Yüzyıl) is among the most popular, and the ministry would particularly like to air this series in Kyrgyzstan, said Arıcı.

The importance of industry

At the same meeting, Istanbul Chamber of Commerce board member İsrafil Kuralay said the industry had reached a very important position.

The Daily News has previously reported that Greek audiences in particular have learned a number of Turkish words thanks to the series that are aired in their country. Turkish series such as “Magnificent Century,” “Sıla,” “Asi,” “Acı Hayat” (Bitter Life), “Deniz Yıldızı” (Starfish) and “Lale Devri” (Tulip Age) are among those being shown in Greece, and Greek people have thus started to pick up simple words and phrases in Turkish such as “Hello,” “How are you?” and “My dear.”

“Magnificent Century” is being aired in Greece on OBN, one of the most watched stations in the country, under the title “Süleyman Velicanstveni” (Süleyman the Magnificent). It was also the highest rated T.V. series in Bosnia Herzegovina on its first day of broadcast.”

Source : Hürriyet Daily News

“Turkish television show fervor reaches western Europe” – Sabah

By Kerim Ülker.

“The recent wind of popularity for Turkish television series in the Middle East, which has increased the advertising market by 35 percent, has now reached Western Europe. Sweden, the symbol of welfare, will soon broadcasting a Turkish television series for the first time ever.

Turkish television series have found increasing popularity in a variety of nations spanning from Croatia to Azerbaijan, the UAE to Kosovo and even in some of Asia’s most distant nations such as Singapore and Vietnam.

The popularity of Turkish television series in the Middle East has also resulted in a significant increase in exports. Turkey, which every year sells 100 television shows to 20 different countries, is aiming to increase the 60 million dollars in exports to 100 million. With their increasing influence in the Arab world, the popularity of Turkish television shows is now beginning to reap results in the economy. Figures from the past 18 months, which include the Arab Spring, are showing that these shows are also making a mark on the advertising market.


In 2010, there were 81 television shows broadcasted in the region. In 2011, this figure went up to 160. Turkish television series constitute a significant number of the shows running. Lebanese K&Partners TV Services CEO Nabil Kazan says that these Turkish shows played a significant role in the 35 percent increase in the advertising market this period, which reached 14.3 billion dollars.

The recent popularity of Turkish shows in countries such as Russia and Ukraine has now made its way to Western Europe nations. Sweden will soon be broadcasting a Turkish television for the first time ever. Sweden’s state-run Sveriges Television (STV) has signed on to broadcast the ATV show “The End” (Son), marking the first time a Turkish television series will run in Western Europe.


Sweden’s STV, which broadcasts from 16 different channels, holds a 36.3 percent share of ratings. STV, which is also set to host Eurovision 2013, will be releasing “The End” for Swedish viewers in January. Expressing how exciting he finds the show, STV Director Göran Danesten says, “This show is wonderful and will truly leave a unique impression.”

Source : Sabah


“Turks now producing Europe’s televisions” – Sabah

Source : Sabah

“With campaigns geared towards sports, Turkish television manufacturers have conquered the European market. While Arçelik Grundig has sat itself in third place in Germany, with the aid of the Bundesliga, Vestel has caught on to a 70 percent growth.

The coinciding of the German Bundesliga with both the European Cup and the Olympic Games, has worked to Turkish television producers’ benefit. With their brand investments and production based strength, both Arçelik and Vestel, have turned their consumption potential derived from sports broadcasts into an opportunity in the television market. Both brands managed to have their presence felt in this year’s IFA, one of the biggest consumer electronics fairs in the world.

With Bundesliga TV and marketing, the return of a technological cllaboration put Arçelik in third place in the market. In the first six months of 2012, Grundig was able to double sales compared to the year prior. During the same time period, with flexibility in production and smart television investments in conjunction with the Olympic Games and the European Football Cup, Vestel saw a soaring 70 percent growth in exports during the same time period.


Both firms have determined new export markets in order to ensure they are not affected by any shrinkage that could transpire in Europe. While Arçelik has set its sights on growth in Africa, by purchasing the Defy brand in South Africa, they have already made a significant jump. Vestel on the other hand has completed preparations to begin exporting televisions to South America’s Argentina, Brazil, Uruguay, Peru, Colombia and Paraguay.


The ‘Cast Line’, a special cookware series designed for Beko by Patricia Urquiola, was revealed for consumers at this year’s IFA, which also showcases white goods.
Koç Holding Durable Goods Consumer Group Chairman Levent Çakıroğlu announced that Arçelik has grown by 40 percent over the first six months of 2012. “With the effects of this growth, our six-month revenue has reached 5.2 billion TL. We are the only brand in Europe that has managed to increase our market share for five consecutive years,” states Çakıroğlu.


Vestel, which introduced a number of new products at the IFA, managed to acquire a 70 percent growth in television sales in the first six months of the year. Based on this product alone, the firm’s revenue has reached 687 million euros.

According to Vestel Executive Board Vice-Chairman Turan Erdoğan, the Olympics and the football championship were important driving factors. “We gained a lot of momentum due to the fact that the European Cup was in June and the Olympics followed in July,” says Erdoğan.”

Source : Sabah

“TV series face demand and supply problem, says actor” – Hürriyet Daily News

There is a supply-and-demand problem in the Turkish television series industry, Tarık Pabuççuoğlu, a veteran Turkish television and cinema actor, says. Source : Hürriyet

There is a supply-and-demand problem in the Turkish television series industry, Tarık Pabuççuoğlu, a veteran Turkish television and cinema actor, has said.

Pabuççuoğlu, who is currently playing a role in a Turkish TV series, criticized the workings of the sector while speaking to Anatolia news agency.

“I am worried about the cultural erosion that Turkey faces today. It is very important to attract audiences to the theater, but no one is interested in it,” Pabuççoğlu said. “[TV series] feed of commercial advertisements and this makes it a commercial situation.”

Each season, 120 TV series hit Turkish television screens, Pabuççuoğlu said. “Each [production] team consists of 50 people, but only a few of these series can survive and continue through the season. When TV series are canceled then people become unemployed.”

This is a question of supply and demand, Pabuççuoğlu said. The imbalance of supply and demand affects everything in the industry, he said, and added that this also drives the cultural erosion Turkey faces.

Meanwhile, fully 78 percent of poll respondents in the Arab world and Iran report that they have watched Turkish soap operas.

Demand is high in Arab countries

“[Turkish] TV programs have taken the region by storm, with Turkish TV stars becoming pop idols,” a report from Paul Salem titled “Turkey’s image in the Arab World,” said. These soap operas have the effect of “creating attachment, understanding and affection for Turkish identity, culture, and values” in the region, the report said. “Like Egyptian TV and cinema creating a prominent cultural place for Egypt in previous decades, Turkish television has made similar inroads in Arab [and Iranian] popular culture,” the report said, adding that this has been complemented by a wave of tourism to Turkey that is bringing Arabs and Iranians from various classes and walks of life to the country, which has become the most popular tourist destination in the region.

Source : Hürriyet Daily News

“Comedy show satirizes TV series sector” – Hürriyet Daily News

Murat Cemcir (L) and Ahmet Kural (M) worked at the TV show ‘Ramazan Güzeldir, which is currently aired on TRT Arabic channel. In addition to trio’s currentl show on TRT called ‘İşler Güçler,’ Sadi Celil Cengiz (R) is acting a part at TRT’s ‘Leyla ile Mecnun,’ which is also broadcast on TRT Arabic as well.. Source : Hürriyet Daily News

By Tuba Parlak

“Comedy show ‘İşler Güçler’ sheds light on the TV industry, providing viewers with a peek at the reality behind the screen. The show is aired on Star TV every Thursday and has been an immediate success

Turkish TV series are widely appreciated at home and in neighboring countries, but audiences know little about the increasingly brutal nature of the TV show sector. A comedy series called “İşler Güçler,” however, is shedding light on the industry, providing viewers with a peek at the ugly reality behind the screen.

“We wanted to make a comedy out of what we or our friends have experienced in this sector and turn it into a satire of the whole TV show production system. It has worked very well so far,” said Selçuk Aydemir, the writer and director of the show, which became an immediate success after the airing of its first episode earlier in July on Star TV.

The lead characters, Ahmet Kural, Murat Cemcir and Sadi Celil Cengiz, perform in the show with their real names and their real career stories. “İşler Güçler” is aired on Star TV every Thursday, and the ratings have pleased the filmmakers. The general audience response, according to social media, has also been very positive, and it is more than likely that the show, which started as a summer series, will continue the next season.

“We are presenting a caricaturized version of our own career stories through which we are also making fun of ourselves, which is necessary for many reasons. First, if we told the audience what we have really gone through without any comical effects, they would not be able to watch the show without bursting out into hysterical tears,” said Kural, laughing before revealing the main reason, which was to sustain realism. “Had we started by criticizing the sector as fictional characters, it would have alienated the viewer in the long run because it would give them the false impression that we were out of this vicious circle. And unfortunately that is not true,” Kural said.

Dealing a death blow to Rambo

“İşler Güçler” takes its name from a colloquial phrase used to denote a hectic work schedule that is often not as busy as the speaker would have his listener believe. The title refers to the employment conditions in the sector, where the miscalculations of supply and demand might lead to the ruin of acting careers. An explosion in domestic and foreign demand for Turkish TV dramas has produced increased supply. In the last five years, Turkish TV viewers have been subjected to hundreds of new productions which repeatedly deal with the same topics and liberally employ recurrent themes with little imaginative effort due to confidence in their star casts.

Early critics of the abundant supply went to the trouble of counting the number of shows on domestic TV channels for one whole season, reaching three-digit numbers. The same critics complained about the declining cinematographic qualities as a result of pressing weekly schedules, which stemmed from the amount of competition. “In the U.S., a 22-minute comedy is shot within 28 days. In Turkey, we are urged to shoot a 100-minute episode in six days,” said Cemcir.

The story for “İşler Güçler” developed out of a documentary project director Aydemir was writing to cast the same three actors.

“I was planning a documentary series called ‘Meslek Hikayeleri’ [Professional Stories], in which we would pick three professions each week and interview a few people in that profession. I was also writing funny parts to connect each interview, because I wanted the documentary to have a degree of humor. In the long run, the project turned into the script for ‘İşler Güçler.’”

The show’s plot is the career story of three actors who get hired by an extremely unprofessional producer for the making of a documentary titled “Professional Stories.” As the three characters strive to do their job properly, despite a lack of funds and professional conditions, the show’s plot changes into a funny employment story about the TV business. The fictional documentary is of such desperately low quality that it never gets an airing, and the channel – which is named after the real broadcaster of the TV show, namely Star TV – repeatedly airs Sylvester Stallone’s “Rambo” films in its place.

“In this episode, we’re getting our revenge on Rambo,” Aydemir said. In last week’s episode, the show opened with the opening scene of “Rambo 4” as a joke to the audience, and the full film followed the airing of the show. On being asked whether this yielded any copyright infringement issues, Aydemir said he had asked for the necessary permission.

Breaking free of the vicious circle

These four people have previously collaborated on a few TV shows, none of which continued past the middle of their first season. Aydemir and Cengiz know each other from a web portal where they used to upload their short films during their amateur years. They meet with Cemcir coincidentally while they were shooting “Kurban” (Sacrifice), which was later aired as a four-episode mini-series on state-run TRT during the Kurban Bayram Holiday.

Kural and Cemcir’s story is as funny as it can get. “While I was shooting ‘Gazi’ [Veteran] for ATV in 2007, [Cemcir] joined us as a guest actor. But we did not meet during filming because we never shared a scene. He played in only four episodes and then the show was withdrawn from the screen after the airing of the 19th episode,” Kural said.

Cemcir picked up telling the story of the duo’s collaborations where his friend left off. “In 2008, I started to work on another show called ‘Bir Bulut Olsam’ [If only I was a cloud] and [Kural] joined us as a guest actor. After the 16th episode was aired the channel cancelled the show,” Cemcir said.

The duo also shared the lead role in Aydemir’s 2011 movie “Çalgı Çengi.” That same year, Cengiz joined the trio in the shooting of another TV show titled “Üsküdar’a Giderken,” which was named after a Turkish classical music song, broadcast by Kanal D until only the 14th episode.

“While the shooting of the show continued I was offered a part on another show and to be able to do both of these [shows] I had to resign from my post as a civil servant. On the day my resignation was confirmed, I was told the show was being cancelled from the screen and the other project was cancelled before even being broadcast.” This chain of misfortune is the main inspiration behind their current project and where the plot derives its humor from. It is certain that with their final project they have broken free of the vicious circle.”

Source : Hürriyet Daily News

“Turkish drama makes for MENA” – C21 Media

NATPE: Buyers from the Middle East have been shopping for historical drama programming from Turkey’s national public broadcaster TRT.

UAE-based Dubai Media Corporation (DMC) has picked up rights to Once Upon a Time: Ottoman Empire Mutiny for the Middle East and North Africa (MENA), following a deal with TRT Sales.

The 13×90′ series, produced by Hersey Film, aired to high ratings this year and TRT1 has already ordered a second season. DMC operates Dubai TV, which airs across MENA via satellite and other platforms.

Another UAE-based regional broadcaster, MBC, has also taken a TRT drama, 2011′s Ahmet the Cook’s Aide (20×35′). This show is also set in the Ottoman era and was produced for TRT by Okur Film.

Speaking to C21 at Natpe Budapest, Meltem Tumturk Akyol, head of international sales at TRT, said the two shows would start airing across MENA from next month. The deals mark the first international sales for both series.

TRT is riding a wave of interest in Turkish drama in MENA and Central and Eastern Europe. That trend started after Kanal D drama Ezel became a major hit on another Middle Eastern channel, Abu Dhabi TV, in 2010.

Source : C21 Media

“Doğan TV chairwoman gets leadership award” – Hürriyet Daily News

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

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

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

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

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

Source : Hürriyet Daily News

“$30,000 paid for hour-long series” – Hürriyet Daily News

"Turkish TV series ‘Nour’ immediately became a hit when it was shown on Saudi sattellite channel in 2008." Source : Hürriyet

“The high production values of dubbed Turkish television dramas, which are extremely popular in Arab households, pose a huge challenge, experts say, according to a report in the United Arab Emirates-based newspaper Gulf News on April 1.

The remarkably popular Turkish series are increasingly becoming a source of delight for sponsors and advertisers on Arab television channels, the newspaper said. The demand for Turkish drama has increased, especially with the decreasing output of the two important TV production cities of the Arabic-speaking world, Cairo and Damascus, due to the political turmoil in both countries in the past year.

But expansion into this market has its price. As the economic rule goes, an increase in demand leads to an increase in prices. Some experts in the industry believe that the increasing prices of Turkish dramas will eventually lead to a shift in demand. The high prices that Turkish series command have begun to suggest to TV networks the necessity of searching for a new profit window.

Adeeb Khair, general manager and owner of Sama Art Productions, a Syrian TV-production company which dubs Turkish dramas into colloquial Syrian Arabic, was quoted as saying, “Several years back, I bought a one-hour (one hour of copyright) Turkish drama for $600 or $700. Today, there are [those] who are willing to pay $40,000 for one-hour dramas.”

“This has opened the door for Turkish [production] companies to reconsider their prices and say they won’t sell for less than $30,000 [for a one-hour show]. This will create a problem. Who will buy them and take such a risk?” Khair said, speaking to Gulf News. His Damascus-based company has already dubbed nearly 60 Turkish dramas in the last four years.

Success of ‘Nour’

The series “Gümüş,” sold in Arabic-speaking markets under the name of “Nour,” the name of the main character in the dubbed Turkish drama, which was shown on the Saudi-owned MBC satellite channel in 2008, immediately became a hit, according to Gulf News. The high ratings it got were partly due to its unconventional use of colloquial Arabic. Non-Arabic dramas used to be more commonly dubbed into classical Arabic.

Another Turkish series popular in Arab households is “Aşk-ı Memnu” (Forbidden Love). It was among the top 10 series in Egypt last year.

The duration of Turkish dramas, some of which can exceed 100 episodes, also helps bring in advertising, because viewers get hooked on a series and become loyal to the channel that airs it.

“Once you get someone hooked, it is not just 20 or 30 episodes, it is 60 or 70 or maybe 90 episodes, so you actually guarantee an audience for a long time,” Veda Rizk, a Dubai-based TV and marketing consultant, told Gulf News.”

Source : Hürriyet Daily News

“Mavi on the rise in the Middle East due to popular Turkish TV. shows” – Sabah

Source : Sabah

“With new stores opened in Iraq, Libya, Saudi Arabia and the United Arab Emirates, Mavi General Manager Cüneyt Yavuz explains that popular Turkish television shows have had a positive influence in increasing their regional sales.

Turkish television series are breaking rating records in the Middle East, which in turn is positively affecting the trade volume of Turkish firms operating in the region.

According to Cüneyt Yavuz the General Manager of the famous ready- to- wear brand, Mavi is extremely well-known and in demand in the Middle East and therefore they have now opened stores in new important markets such as Libya, Saudi Arabia and the United Arab Emirates. Yavuz explains that the Middle Eastern market has been an interesting experience for Mavi and states that due to the import of Turkish television series, interest is on the rise. Yavuz also states that with Kıvanç Tatlıtuğ acting in the brand’s commercials for the past three years, he has now become an important ambassador for Mavi in the region.

Yavuz says that in the short period of five years’ time since they were first established, Mavi quickly became the leader of Turkey’s jean market, however wanting to expand further; they first opened up stores in Germany and then entered the American market, the homeland of the blue jean, where they have successfully established a chain of Mavi stores. “

Source : Sabah



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.” […]

” ‘World’s richest man’ to invest in Turkish market” – Hürriyet Daily News

Hisarcıklıoğlu (L) meets with Carlos Slim, the world’s wealthiest man according to the Forbes magazine, in Mexico City, to discuss the Mexican businessman’s possible investments in Turkey, especially in the telecoms sector. Slim plans to visit Turkey soon. Courtesy of TOBB. Source : Hürriyet

“Turkey and Mexico need to sign a free trade deal and lift trade barriers, says Rifat Hisarcıklıoğlu, head of Turkey’s Union of Chambers and Commodity Exchanges.

Obstacles to trade between Turkey and Mexico should be lifted immediately and the two countries should sign a free trade agreement as soon as possible, said Rifat Hisarcıklıoğlu, President of the Union of Chambers and Commodity Exchanges of Turkey (TOBB), speaking at the Mexico-Turkey Business Forum in Mexico City Mexico over the weekend.

“Turkish businessmen have turned a blind eye to Mexio. We are the most active entrepreneurs in the region, but we have missed out on Mexico,” said Hisarcıkloğlu adding that in order to have a say in the global arena, Turkey needs to trade with Mexico. To help this, the two countries should agree to lift visa requirements and double taxation, as well as protecting investments, he added.

TOBB head meets Slim

Hisarcıklıoğlu also had the opportunity to visit Mexican national Carlos Slim, declared the world’s richest man in 2010 and 2011 by Forbes magazine, with a fortune of approximately $70 billion. Slim told Hisarcıklıoğlu that he looked favorably on investing in Turkey, especially in the telecommunications sector, according to the Anatolia news agency. Slim is heavily involved in Mexico’s telecommunications sector (Telmex and America Movil) and has several investments in other industries such as banking, technology and retail. Anatolia news agency quoted Hisarcıklıoğlu as saying that Slim was planning a trip to Turkey as soon as this summer, and that he would be given the opportunity to meet with Turkish Prime Minister Recep Tayyip Erdoğan. According to Hisarcıklıoğlu, Slim said Turkey was a “shining star,” and that if Turkey and Mexico were able to maintain close relations over the next ten years, both countries would be promoted to the status of truly developed countries.”

Source : Hürriyet Daily News

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