“Les feux de l’amour, mode stambouliote” – Saphir News

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

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

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

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

Source : Saphir News


“Les internautes peuvent-ils échapper à l’espionnage ?” – France Culture / Science Publique

Longtemps, les sciences humaines ont souffert d’un lourd handicap vis-à-vis des sciences physiques. En effet, le sociologue était privé de l’outil primordial pour tout scientifique : l’instrument de mesure. Il ne pouvait appréhender son objet d’étude, l’homme et la société, qu’à travers des méthodes approximatives d’enquêtes et de sondages. D’où, sans doute, le qualificatif de science « molle » attaché aux sciences humaines, par opposition aux sciences dites « dures » comme la physique, la chimie ou la biologie. Cette situation est en train de changer radicalement depuis quinze ans avec l’apparition d’un phénomène unique dans l’histoire de l’humanité : Internet.(…)

Invités :

Source : France Culture

 

“Les industries créatives, encore, toujours et partout : actualités et enjeux des transformations dans les industries créatives” – OMIC / MSH Paris Nord, le 7 juin

.
Le mardi 7 juin 2011, de 9h00 à 18h00, à la Salle de conférence de la MSH Paris Nord, aura lieu une journée d’études sur ” Les industries créatives, encore, toujours et partout : actualités et enjeux des transformations dans les industries créatives “.

Lien vers la page de l’OMIC

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Thème:

Pourquoi le thème des industries et de l’économie créatives sont-ils aussi présents sous des latitudes aussi diverses que les anciens pays industriels et les pays émergents ? Quels sont les enjeux soulevés par ces mouvements ? Faut-il prendre au sérieux ces notions et qu’apportent-elles de nouveau par rapport à des notions plus établies, celle d’industries culturelles en particulier, et par rapport également aux thématiques de la société de l’information ou de la connaissance ? Qu’est-ce qui relie les industries créatives au territoire ? De nouveaux « acteurs » et de nouvelles institutions émergent-ils ? Telles sont les questions centrales soumises à plusieurs chercheurs, étrangers et français, invités par l’équipe de l’ANR « Des théories des industries culturelles et éducatives aux théories des industries créatives ».


Programme :

  • 8h45 : accueil des participants
  • 9h : introduction par Philippe Bouquillion (professeur à l’Université Paris 8), porteur de l’ANR « Des théories des industries culturelles et éducatives aux théories des industries créatives (2009-2012) »
  • 9h15-10h15 : Philip Schlesinger (professeur à l’Université de Glasgow) : « Enjeux politiques et économie créative au Royaume-Uni »
  • 10h15-11h15 : Enrique Bustamante (professeur à l’Université Complutense de Madrid) : « Industries créatives et industries culturelles en Espagne et en Amérique Latine: répercussions sur la recherche et sur les politiques culturelles »

11h15-11h30 : Pause

  • 11h30-12h30 : Gaëtan Tremblay (professeur à l’Université du Québec à Montréal), avec Pierre Moeglin (professeur à l’Université Paris 13 ) : « Les industries culturelles face aux politiques de la créativité »
  • 12h30-13h30 : Eric Georges (professeur à l’Université du Québec à Montréal) : « Pour une critique de la notion d’industries créatives. Perspectives au Canada et sur les industries de l’information. »

13h30- 14h30 : Déjeuner à la MSH

  • 14h30-16h00 : Bernard Miège (professeur émérite à l’Université Grenoble 3 ), « Pour une recherche des traits communs et des spécificités des Industries Culturelles et des Industries Créatives: éléments méthodologiques ».
  • Débat et synthèse

16h00-16h15 : Pause

  • 16h15- 18h00 : présentation de travaux de recherches portant spécifiquement sur l’Inde (en collaboration avec le Réseau/équipe « Industries culturelles, Scènes artistiques et littéraires indiennes », coordonné par Catherine Servan-Schreiber et Raphaël Rousseleau)
  • Kristian Fiegelson (Ehess/Paris 3) et Monique Dagnaud (CNRS/EHESS) sur « Bollywood, les industries de l’image »Joël Augros (professeur à l’Université Paris 8 ) sur « une comparaison entre Bollywood/Hollywood »Bertrand Ficamos (Docteur, Bordeaux 3) sur « la convergence entre TV/Globo et Bollywood ».
Pour vous rendre à la MSH Paris Nord, cliquez ici

“La série télé, ce n’est pas de la littérature” – Le Monde

“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(…)“.

Source : Le Monde

“BBC looks for Turkish family to be in series on parenting” – Today’s Zaman

Source : Today's Zaman

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.”(…)

Source: Today’s Zaman

“Le Royaume-Uni soutient ses industries créatives ” – INA Global

“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[+].(…)”

Source : INA Global

Conference “Space and Culture” / Univ. Kadir Has / September 8-10th 2011

The Sixth International Cultural Studies Conference, Space and Culture 2011, will take place on the 8th to the 11th of September 2011 in İstanbul.

The 6th Cultural Studies Conference on “Space and Culture” jointly organized by Turkish Cultural Studies Association and Kadir Has University will be held on 8-10 September 2011 in Istanbul, Turkey. The purpose of the conference is to question existing paradigms in topics that bring together the concepts of ‘culture’ and ‘space,’ to present critical and analytical studies in these themes, and to explore new theoretical and methodological approaches in cultural studies with inter- and multi- disciplinary perspectives. The international cultural studies conferences that are organized every two years by this association have made significant contributions to cultural studies and brought together scholars who work in this area. Since the first meeting in Kemer, Antalya (2001), the Conferences have been organized, jointly, with 100. Yıl University in Van (2003), with Koç University in İstanbul (2005), with Işık University in Şile (2007), and with Karaelmas University in Zonguldak (2009).

Abstracts are invited on the following sub-themes related to Turkish cultures, cultures of Turkey, and cultures of Turks, whether they are located in or outside Turkey. The conference is open to a variety of approaches and themes as long as they deal with culture and space, and are pertinent to the central focus of the conference.

See the program here :
http://semp2011.kulturad.org/index.php?turkce

“Get to know Turkey’s movie and television viewers” – Sabah

“The Turkish audience’s number one preference is to watch films of the comedy genre. Films of choice should deal with political and social issues, whereas on television, Turkish viewers prefer to watch family shows.

Research commissioned by the Istanbul Chamber of Commerce and conducted by Galatasaray University, entitled The Positioning of the Film Industry in Turkey and Target Research has revealed surprising findings regarding television and film viewers in Turkey.

The research which spans over the past five years shows that a number of generalizations are not necessarily accurate. For example, the notion that ‘Art Films’ do not see much demand is not so true when it comes to DVD viewing. In fact, ‘Art Films’ are at times amongst the most highly viewed productions. Another finding that contradicts generalizations is that films based on social or political themes do indeed see demand. One of the most significant findings from the research conducted is that Turkey’s film industry is holding its own against demand for Hollywood films.

FILM

In terms of domestic film viewing throughout the globe, Turkey comes in sixth following India (%92), USA (%91.8), Egypt (%80), Japan (%56.9) and China (%56.6). In Europe, Turkey comes in first for the number of domestic films viewed. However despite these findings, the number of tickets, which on average is at 0.52 per person, comes in 13th in the world.
Ticket prices in Turkey, according to purchasing power are high in comparison to the United States and Europe. The average price for a film ticket is 8.35 TL.
In terms of genre, the Turkish public prefers comedy films (%41) followed by dramas (%21).
The most important factor for film viewers is genre. While 35 percent of viewers select films according to genre, 21.6 percent choose films based on whether they are domestic or international productions. Whether or not a film has received much media is not a significant deciding factor.
Sixty-one percent of viewers watch films in shopping centers, while 35 percent prefer boutique theaters.
Viewers enjot films according to their realism, believability and how much they draw the viewer in.
The Turkish public mostly enjoys social or political films (%31), followed by movies depicting ordinary life stories (%21) and love stories (%17).
Twenty-five percent of viewers go the moves once a year. 38 percent go 2-3 times a year and 18.7 percent go 4-5 times, while 9.3 percent go 6-10 times and 8.2 percent go to the movies more than ten times a year.
Viewers prefer domestic films when selectign a film to see in the theater, however when it comes to purchasing DVD’s it does not matter.
The Ministry of Tourism and Culture designated a 24, 089,000 TL budget for the film industry during the years 2005-2010, which resulted in the shooting of 158 films.
In making popular films, directors prefer to work with TV stars (%73) whereas directors for festival films prefer amateur actors (%67).
Legal DVD sales have surpassed 15 million. In DVD sales, the genre of preference is drama (%21) followed by comedy (%13).

TV

There are approximately 47 television series broadcasted each week.
Including advertising and sponsorship income, the television series sector’s total revenue is at one billion liras.
The mist highly viewed shows are family or neighborhood series (%52).
Stories surrounding the middle class or the impoverished are preferred vieing for television series.
Series are in general, set in Istanbul (%57).
The deicsion to watch a new television series is primarily based on previews (%28), topic (%26) and casting (%26).
Sixty-six percent of viewers believe that television series episodes run for too long.”

Source : Sabah

“Pop culture in Turkey pushes the nation’s buttons once again” – Hürriyet Daily News

The new TV series "Muhteşem Yüzyıl" (Magnificent Century) depicts the imperial life of Süleyman the Magnificent, the longest-reigning Ottoman sultan. (Source : Hürriyet)

“Pop culture continues to bring out the nation’s sensitivities, or, more likely, insecurities. Controversy is sparked by a TV series showing Sultan Süleyman courting women in the harem rather than conquering the known world, and by a comic book showing a young Atatürk beaten by his superior in the military. Both are accused of tarnishing Turkey’s history. But when it comes to the ultra-nationalistic, ultra-violent movie ‘Valley of the Wolves: Palestine,’ there’s no reaction

Turkey is the best country in the world, Turkish history is solely an epic collection of glorious victories and Turks are the greatest people to have ever graced the earth. If these are the messages in your film, TV show or comic book, you are good to go.

But if, by any chance, that same work is seen as tarnishing the image or history of Turkey, you are likely to find an army of sensitive citizens, fanatic ideologues and statesmen (and stateswomen) more than happy to lynch you.

Pop culture tested the limits of national sensitivities in January, with a TV series, a film and a comic book roiling the waters of a nation insecure, intolerant and, at times, paranoid about its identity and how it is perceived by others.

Ironically, the most violent and discriminatory of these three new releases turned out to be the one nobody really found it necessary to make a fuss about. The blockbuster “Valley of the Wolves: Palestine” did not seem to hit a nerve. Killing dozens of onscreen Palestinians and Israelis apparently isn’t much of a problem as long as it is done for the purposes of revenge on behalf of all Turks.

The “Valley of the Wolves” franchise – including, so far, three seasons of a TV series and subsequent films – has been, more than anything else, an unabashed exploitation of Turkey’s sensitivities, or, more likely, insecurities, in the new world order of a new millennium. Its leading character, a rogue nationalist hero, is above the law and establishes his own sense of justice in the name of patriotism. Short and stocky like Jack Bauer of “24,” and a troubled sociopath like Rambo, Polat Alemdar became an instant role model for many young men in Turkey. He fed on their frustrations with being stuck in a limbo between middle class and lower class, between city and rural and between modernity and tradition.

The recently released film cashes in on last year’s Israeli commando attack on the Mavi Marmara, the Turkish aid ship carrying pro-Palestinian activists to the Gaza Strip in a trip that ended with the death of eight Turks and one American of Turkish descent on board. The words “cash in” pretty much summarize the sentiments, as the Mavi Marmara-related scene at the beginning of the movie doesn’t tie with the rest of the story, giving the impression that it was tacked on to exploit the death of nine people.[…]”

Source : Hürriyet Daily News

“Pourquoi les séries télévisées envahissent-elles tous les écrans ? ” – Le Monde

Parce qu’elles captivent chaque semaine les téléspectateurs et les fidélisent, parce qu’elles permettent aux chaînes d’échapper à des audiences erratiques et de compresser les coûts de production, les séries télévisées constituent aujourd’hui le genre majeur à la télévision. Le plus plébiscité et le plus propre au médium.

Un phénomène culturel mondialisé

Ces programmes confèrent au petit écran, longtemps traité de robinet à images, une légitimité culturelle qui lui faisait défaut. Or, paradoxe, ces mêmes séries contribuent à en abolir les frontières en s’émancipant de leur lieu d’origine. Si elles sont nées avec le petit écran, les séries sont devenues un phénomène culturel mondialisé, un laboratoire où s’inventent de nouvelles formes de narration, depuis vingt ans, soit la période au cours de laquelle les canaux de diffusion se sont multipliés.

D’abord propulsées par la généralisation des DVD qui permettaient d’enchaîner les épisodes, elles prospèrent grâce au Web, qui répond au besoin d’échanges et d’urgence créés par l’addiction. D’autant que cette migration, contrairement au cinéma, n’entraîne pas un sentiment de déperdition, comme c’est le cas lorsqu’on passe du grand au petit écran.(…)

Source : Le Monde

 

“Pourquoi les séries télévisées envahissent-elles tous les écrans ?” – Le Monde

Par  Macha Séry

“En quinze ans, les séries télévisées sont devenues une addiction planétaire, le genre majeur de la télévision. Des collégiens aux cinéastes tels Jean-Luc Godard fan de “Docteur House”, des mères au foyer aux universitaires, elles captivent tout le monde.

Même les plus réfractaires à la télévision, ceux qui ne la possèdent pas, ceux qui la qualifiaient avec mépris de “robinet à images”, se sont découvert un appétit pour ce type de programmes.

De fait, les séries ont conféré au petit écran la légitimité intellectuelle qui lui faisait défaut. En moins de cinq ans, elles ont fait leur entrée à l’université où elles sont désormais étudiées et disséquées par des professeurs de diverses disciplines. Cet engouement a été impulsé par le renouveau des séries américaines, des créations plus percutantes, ou jouant de cette longue durée que seul permet le feuilleton pour bâtir des fresques historiques et des peintures sociales riches en détail et en ambigüité psychologique. En somme des méga-films.

DES PAYS ÉMERGENT SUR LE MARCHÉ MONDIAL

Cette hégémonie toujours puissante des productions anglo-saxonnes dissimule le fait que, peu à peu, des pays émergent sur le marché mondial. Tel est, par exemple, le cas des pays scandinaves, de la Grande-Bretagne, d’Israël, du Brésil et de l’Italie qui, aujourd’hui produisent des œuvres de qualité qui s’exportent bien.

En France, les chaînes de télévision ont progressivement réduit les cases dévolues jadis au cinéma et privilégient désormais la fiction sérielle au téléfilm. Cette culture populaire et mondialisée – une même série peut être diffusée simultanément dans 120 pays comme ce fut le cas, en novembre, de “Walking Dead” – essaime sur tous les écrans.

On les trouve à la télévision, évidemment, sur le téléphone portable mais surtout l’ordinateur, le Web étant le lieu d’échanges et de consommation massive des séries télévisées davantage piratées que le cinéma.”

Source : Le Monde

“Diziler yanlı da sağcılar çok mu temiz?” – Sol

Source : Sol

“Zaman gazetesi, bazı sağcı kişilikleri konuşturarak televizyon dizilerinde sağcıların kötü gösterilmesinden yakınmış. Oysa mesele bir kampın diğerine karşı daha güçlü propaganda yapması değil. Dönemin sağcı hareketleri, ne kadar inkâr ederlerse etsinler, zaten kötülerdi.

İslamcıların ve ülkücülerin televizyon dizileri üzerinden tarihlerine ilişkin gerçekleri inkâr çabaları aralıksız sürüyor. Özellikle “Öyle Bir Geçer zaman ki” dizisi yayınlanmaya başladıktan sonra, daha önce yayınlanmış “Çemberimde Gül Oya”, “Hatırla Sevgili” ve “Bu Kalp Seni Unutur mu” gibi yakın dönemin siyasal olaylarını da işleyen diziler de gündeme getirilerek, bir protesto kampanyası yürütülüyor. Dizi setlerine ve yayıncı kanal binalarına “toplu ziyaret”ler, basın açıklamaları, etkileri altındaki köşe yazarları, televizyon eleştirmenleri, hep aynı itirazı dile getiriyor: Bu diziler gerçekleri çarpıtıyor, solcuları iyi ülkücüleri kötü gösteriyor, tarihi tek yanlı aktarıyor, ülkücüleri Amerikancı olarak konumluyor ve şiddet uyguladıkları iftirası atıyor.” […]

Source : Sol

“Diziler mi sansürlenmeli, bu siyasetçiler mi?” – Sol

“Dün Meclis’te milletvekilleri arasında yaşanan dizi tartışmasının seviyesi, daha önce yaşanan örneklerle de birlikte düşünülünce, toplum sağlığı açısından diziler mi sansürlenmeli, yoksa her gün televizyonda insanların karşısına çıkan bu siyasetçiler mi sorusu akla geliyor.

Televizyonlarda yayınlanan ve her biri bir uzun metrajlı film uzunluğunda olan diziler, halkı ekran başına kilitleyerek atıllaştırmalarından içerdikleri milliyetçi-gerici mesajlara, çalışma saatlerinin 14-15 saat bulduğu dizi setlerindeki insanlık dışı çalışma koşullarına kadar pek çok açıdan tartışılıyor. Ama TBMM’de değil. Çünkü milletvekilleri dizilerin bu yönleriyle hiç ilgili olmadılar. Şiddet içerenleri övdüler, cinsellik içerenlere bir yandan sansür istediler bir yandan da bu dizileri müstehcen bir dille tartışmayı yeğlediler. Dün de öyle oldu…

TBMM Dilekçe Komisyonu’nun dünkü toplantısında milletvekillerinin televizyon dizileri üzerine yaptığı tartışmanın seviyesi ve sarfedilen kelimeler gerçekten çok düşündürücüydü. Siyasetçilerin bu tartışmasına bakınca, dizilerin şikâyet edilen içerikleriyle, ülkeyi yönetenlerin nitelikleri arasında bir kıyaslama gereği doğuyor.

TBMM Dilekçe Komisyonu’nun AKP Şanlıurfa Milletvekili Yahya Akman’ın başkanlığında yapılan dünkü toplantısının gündemi dizilerdi. Ancak dizilerin halk üzerindeki olumsuz etkisinin masaya yatırıldığı bu toplantıdaki konuşmalara bakınca, komisyonda bulunan milletvekilleri için ayrı bir “sansür komisyonuna” ihtiyaç var gibi görünüyor. Konuşmaları yorumsuz olarak paylaşıyoruz;” […]

Source : Sol

“Kriz dizileri vurdu, olan emekçiye oldu” – Sol

“İSMMMO yaptığı “Dizi Ekonomisi – Mayıs 2010” araştırması krizle birlikte küçülen dizi sektöründe istihdamın yaklaşık 50 bin kişi daraldığını, ücretlerin yüzde 40 oranında düştüğünü ortaya koydu.

İstanbul Serbest Muhasebeci Mali Müşavirler Odası’nın (İSMMMO) yaptığı “Dizi Ekonomisi – Mayıs 2010” araştırması medyada star oyuncuların aldığı ücretler öne çıkarılarak yer aldı. Ancak araştırma krizin vurduğu dizi sektöründe ağır koşullarda, düşük ücretlerle çalışan dizi ve set emekçilerinin şimdi de işsizlik sorunuyla yüzyüze olduğunu ortaya koydu.

Rapora gore tüm hareketliliğe karşın sektör 2008’e göre yüzde 30 oranında küçülerek 1 milyar TL’den 700 milyon TL’ye geriledi.

Sektör, kriz nedeniyle her üç diziden birini kurban verdi. Eylül 2008’de 11 ulusal kanalda yayınlanan yerli dizi sayısı 63 iken, Mayıs 2010 itibariyle bu sayı 7 ulusal kanala ve 42 yerli diziye indi.

Raporda, 150 bin kişinin istihdam edildiği sektörde krizle birlikte 50 bin kişinin işini kaybettiği belirtildi. Veriler büyük bir çoğunluğu güvencesiz çalışan emekçilerin krizle birlikte ilk tasarruf kalemi olarak görüldüğünü de ortaya koydu.

Sektördeki ücretler yüzde 40 oranında düştü

Eylül 2008’de yaptığı araştırmayla 2005-2008 yıllarında adeta “patlama” yaşayan dizi ekonomisinin, 1 milyar TL’lik bir ekonomik güce eriştiğini ortaya koyan İSMMMO, son yaptığı araştırmayla sektördeki küçülmeye işaret etti. İSMMMO’nun araştırmasına göre geçen yıl yaşanan krizle birlikte kanallar, yapımcı şirketlere ödedikleri ücretlerde yüzde 30 ila 50 oranında değişen indirimler yaptı.”[…]

Source : Sol

“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