» ‘Businesses, media should also be questioned in Feb. 28 probe’  » – Sunday’s Zaman

« Former deputy and former head of the Human Rights Association (İHD) Akın Birdal has stated that big businesses and media organs that enabled the military to stage the Feb. 28, 1997 unarmed military takeover, which resulted in the overthrowing of the coalition government of the time, should also be investigated as part of an ongoing probe into the military officers who staged the intervention.

Speaking at a conference organized by the Socialist Platform of the Oppressed (ESP) in Eskişehir on Sunday, Birdal said the media and capital owners played an important role in the Feb. 28 era. “The media moguls, the writers who encouraged the coup and business organizations including the Turkish Industrialists and Businessmen’s Association [TÜSİAD] and employer unions are also part of this. These should also be investigated.”

He also criticized leader of the Republican People’s Party (CHP) Kemal Kılıçdaroğlu, who accused the prosecutors of acting as an instrument of revenge for the government when warrants were issued for the main actors of the Feb. 28 coup. Birdal said that if those who staged Turkey’s earlier coups had been brought to justice, later interventions including Feb. 28 would not have happened. “If Turkey had confronted the coups of 1960, 1971 and 1980, Feb. 28 and the April 27 [2007] memorandum wouldn’t have happened.”

Birdal said: “Finally they have detained the actors of [Feb. 28]. But they were taken in accordance with the rules of the European Court of Human Rights [ECtHR]. They weren’t picked up at from their homes at 5 a.m. like before. It is important that [Feb. 28] be discussed. That this is on the agenda now.” « 

Source : Sunday’s Zaman

 » ‘Media published manufactured lies during Feb. 28 coup era’  » – Sunday’s Zaman

Sabah’s former boss, Dinç Bilgin, says he is ready to testify in the Feb. 28 investigation. (Photo: Today's Zaman)

« The former owner of a media group has said Turkish newspapers published lies under orders from the military during Turkey’s Feb. 28, 1997 period, saying he is willing to testify in front of prosecutors, who on Thursday issued arrest warrants for 31 generals accused of orchestrating the coup.

Dinç Bilgin, a businessman who was the owner of the Sabah newspaper at the time, said Feb. 28 generals relied heavily on the media to manufacture stories about a growing Islamist threat and that there was a lot of pressure on newspaper owners and editors at the time. “I see the new developments as a very positive step forward. The military at the time saw itself as the hegemon of the country. They saw themselves as above all the country’s constitutional agencies.”

He said the media, as well as academia and the judiciary and other segments of society, were under significant pressure from the military. Bilgin also noted that he would be happy to testify and share what he knows about the Feb. 28 era with prosecutors or judges.

Bilgin said during the Feb. 28 period, he met once with generals Çevik Bir and Erol Öskasnak, who complained about Sabah’s staff, saying they were not doing enough to assist the military. “I was invited to the General Staff headquarters in Ankara. Chief of the General Staff İsmail Hakkı Karadayı invited me for dinner. Before dinner, we sat together with Çevik Bir and Erol Ökasnak in a room. It was a very unpleasant conversation. They complained about Sabah columnists. They complained because the writers weren’t writing the things they wanted to see. I tried my best to explain that newspapers don’t work like the military; however, at the time, it was impossible to explain this to those people. Being a strong media mogul, I gave snide, arrogant replies. It was very unpleasant.”

He said the press, instead of fighting a democratic struggle, published untruthful stories to instill fear about the imaginary threat of rising Islamism that the military had said it was committed to fighting. “After the media, the generals’ strongest ally was the judiciary. Think about the prosecutors of the day. If you opposed them, you would end up in front of Nuh Mete Yüksel,” he said, referring to the chief prosecutor of the State Security Courts (DGM).

Bilgin said some people that the media reported on, who appeared to be reactionary Islamists, were in fact hired actors. “I am saying this for the mainstream media. Generally, such stories on Islamic fundamentalism were being published through the Ankara offices. Whoever is the head of the Ankara office usually wants better ties with the General Staff. The military was the strongest institution in the country at the time, so they wanted to get along with them.” Bilgin stated he would be happy to testify and share his knowledge with the prosecutors if summoned.

Rector of Onsekiz Mart University Sedat Laçiner also made a statement evaluating the recent developments. He said the Feb. 28 intervention was a crime that went unpunished. “Because there were ongoing coup attempts inside the military, those responsible for the Feb. 28 and the Sept. 12 [1980] coups couldn’t be tried earlier,” Laçiner said.

He said the fact that the Feb. 28 intervention was a military takeover is accepted by both those who staged it and those who were victimized by it. He said there was a clear intervention by the military in the civilian government. “Just like the Sept. 12 coup, Feb. 28 also involved torture and many violations of human rights. This is more than the crime of military intervention; there are also people who have been victimized. People were fired from their jobs with no justification, people were treated as if they were second-class citizens. There are people who were put in a cell and interrogated there, people who were told they would be denied their right to education unless they changed the way they dressed. There are people who killed themselves because they were slandered.”

Laçiner noted that the civilian aides of the Feb. 28 architects kept tabs on hundreds of university students and reported on them regularly to the Higher Education Board (YÖK), saying this was a huge violation of human rights. “Despite the fact that millions of people have been victimized, the guilty ones are freely walking the streets. Letting this go unpunished is tantamount to encouraging the crime. You can’t have any statute of limitations here. This crime at hand is obvious.”

Source : Sunday’s Zaman

« Content is the king: Hürriyet’s Sabancı » – Hürriyet Daily News

Hürriyet chairwoman Vuslat Doğan Sabancı (C) speaks during a summit in Bursa. DHA photo. Source : Hürriyet

« The leading element in tomorrow’s online media will be content, said Vuslat Doğan Sabancı, chairwoman of Hürriyet newspaper, at the 1st Uludağ Economy Summit in the northwestern province of Bursa over the weekend.

“Publishing content online is relatively easy and open to everyone, but the cost of maintaining permanence is high,” Sabancı said during a panel session on March 17. A good brand, unique content and the technology pave the way for successful media, Sabancı said. “The future of media lies on the Internet; however, the road to that future is full of traps, because remaining permanent in online media is very difficult.”

Doğan Holding, the parent company of Hürriyet, is active in internet media across nine countries in the region. Emphasizing the importance of having a successful brand and unique idea, as well the ability to promote the content in order to have a long-lasting place in the international media arena, Sabancı said the walls between media such as radio, newspapers, magazines and TV have vanished in recent years. “Today, Hürriyet reaches 2 million people with its print versions and an additional 2.2 million readers through its Web site,” she said, noting that approximately 1.5 million readers follow the daily through social media.

As today’s online media offers the ability to reach wide masses of readers, surpassing the conventional distribution channels, content has regained its importance, according to Sabancı. “Apple and others already do the distribution part; what we need to do is to create unique content. I am saying this clearly: Content is king, and our business is content.”

Excluding media competitors based in the U.K., hurriyet.com.tr, Hürriyet’s online news portal, is the biggest of its kind in Europe in terms of access, Sabancı noted. […] »

Source : Hürriyet Daily News

Representation of media groups. Looking for inspiration…

As I’d like to make a representation of the media groups in Turkey I looked for some works previously done on this kind of topic. Those two graphs found on the web illustrate the links between audiovisual and press production in one hand, and the media groups in another hand. Those representations are very helpful to give an idea of the complexity of media sector and of the interelations between finance, media groups, producers, technicians, and so on… 

Financial links between cinéma et media groups in 2010 (source CNC). Click to download the complete pdf
Media groups in France in 2004. (source : internet). Click to dowload the complete pdf file

See also the Pierre Carles documentaries on media groups in France, particularly on TF1 channel : « Fin de concession » (2010), « Pas vu, pas pris » (1998), « Enfin pris? » (2003)

Bonus : 

Photogram of the Pierre Carles documentary, « Fin de concession » (2010). Extract of a printed interview of Patrick Le Lay, TF1 CEO.

My translation to english of the quote in pink (from « Les dirigeants face au changement. Baromètre 2004 »):

« […] let’s be realistic : the basis of TF1 job, is to help Coca-Cola, for instance, to sell its product. But to make the advertisement message perceived, the brain of the spectator has to be available. The vocation of our broadcasts is to make it available, so to say entertain it, to relax it to prepare it between two messages. What we sell to Coca-Cola is available brain time. […] »

« Turkey’s advertising sector sees 20% growth » – Sabah

Source : Sabah

« Turkey’s Association of Advertising Agencies has announced advertising investment figures for 2011 compiled with data from member media agencies.

Advertising spending increased by 20% last year, compared to the year prior, reaching a total of four billion, 320 million liras. This means that the Association of Advertising Agencies’ announcement released to the press at the start of 2011, in which they stated they were expecting to see 20 percent growth in the year, has in effect been realized.

Parallel with the activity in the markets, the 2010 figure of three billion, 613 million TL in total advertisement saw a 20 percent increase in 2011 with totals reaching four billion, 320 million TL. The distribution of investments is as follows: 56.66% in television, 24.25% in the press, 7.97% on the internet, 7.09 % outdoors, 2.80 percent in radio and 1.23 percent consisted of movie theater ads. Economic developments in 2011, the high growth speed and the liveliness in the markets has positively affected the advertising sector. After already experiencing 31 percent growth in 2010, the advertisement sector continues to follow an upward trend with 20 percent growth seen in 2011. The driving forces in the sector’s growth were the areas of communication, food, cosmetics and personal care items as well as home cleaning products.

Turkey’s Association of Advertising Agencies has high hopes for 2012. According to the announcement, expectations of advertisement sales for 2012 are at the 15 percentile range. »

Source : Sabah

« Murdoch to invest in Turkish media » – Sabah

« Prime Minister Tayyip Erdoğan met with Rupert Murdoch, the owner of the United States media giant News Corp. during his heavy schedule yesterday.

During the meeting which lasted an hour and ten minutes, Murdoch shared with Erdoğan his intentions to invest in the nation and stated: « We want to expand our programs in Turkey. We see Turkey as an important country from a media standpoint. We hope to expand our investments here. » Murdoch was accompanied by former parliamentarian Engin Güner for the meeting.

Upon his arrival, Murdoch was carrying a book entitled, « The Empty Ouarter », which he later gave to Prime Minister Erdogan as a gift.

English writer John Bridger Philby wrote the book which describes the Rub ‘al Khali desert in Arabian peninsula. Philby was a British colonial intelligence officer during World War I, yet died a Muslim in Lebanon in 1960.

Prime Minister Erdoğan also welcomed Iraqi leader Ayad Allawi. Prior to Erdoğan’s arrival to the Prime Ministry, 20 security detail were on duty to search the area with dogs following a noise bomb that went off prior. »

Source : Sabah

« Star turn » – C21 media


Cem Aydin. Source : C21 Media

« Following its purchase of Star TV last year, Turkey’s Dogus Media Group is focusing on rebuilding the mainstream channel with original and international productions. CEO Cem Aydin spoke to Michael Pickard.

When its plans to add a home-grown mainstream network to its portfolio of thematic channels were stifled by the economic crisis in 2009, Turkey’s Dogus Media Group was forced to put its ambitions on hold.

Its desire to expand remained, however, and the group moved its focus from launching a network to acquiring an existing one. In line with this new strategy, in October 2011, Dogus paid Turkish conglomerate Dogan Media Group US$327m for its entertainment network Star TV.

Dogan originally bought Star for US$306.5m in 2005 after previous owner Uzan Media folded in 2003 with debts of US$6bn. Star joined Dogus’s stable of seven other channels, which run alongside websites, radio stations, magazines and a publishing imprint. The business is part of the wider Dogus Group of 122 companies, operating in sectors as diverse as banking, construction, real estate and energy.

Explaining the Star purchase, Cem Aydin, CEO of Dogus Media Group, says the firm had become a “pioneer” in thematic channels and wanted to try its hand in a “new and more competitive market” – mainstream TV.

“We worked on a project named TV-en for almost two years,” he says. “But unfortunately, due to the financial turmoil, the project was postponed for an indefinite period. In 2011, when new advertising opportunities arose for mainstream channels, this was the right time to take a project from the rack. Turkey’s first private TV channel, Star TV, was on sale and so rather than building a TV channel from scratch we decided to rebuild Star TV.”

Dogus Media Group was founded in 1999 with the acquisition of NTV, Turkey’s first 24-hour news channel, which had launched in 1996. Business and entertainment channel CNBC-e debuted in 2000 while sports net NTV Spor, music channels Kral TV and Kral Pop, Hindi news net HDe and entertainment net e2 completed the line-up until Star was added last year.

Dogus wasn’t the only company affected by the economic crash, as the entire Turkish media industry faced cuts after a period of expansion, but Aydin says the country’s recovery is now gathering pace. “We were affected but the recovery process has been fast,” he says. “We expect the ad market to grow by 20.4% in 2012 and bring fresh blood to the media industry in general. We aim to increase our ad share in the market until 2013 and keep it around 11.2% afterwards. Obviously, TV still occupies the largest portion of ad share and the acquisition of Star TV has enabled us to double our market share projections for the next three years.”

Advertising sales have also been impacted by the collapse of the Turkish ratings system, which was abandoned last year amid allegations the personal details of some panelists were leaked, which potentially left them open to bribes to change their viewing habits.

A new ratings system will launch in May, but Aydin says: “We’re in limbo right now. This is not good for the sector. Advertisers need measured metrics; they want to see who they reach. And the ad price is also determined through ratings of the time slot. We broadcasters need the metrics to see how our shows are doing and also to talk to the advertisers.”

Despite some signs of economic growth, Dogus does not intend to venture back into acquisitions, as Aydin says picking up new networks is “not a priority for us right now. Improving Star TV, according to our goals and vision, ranks higher on our agenda and we need to concentrate on this objective,” he says.

In terms of content, Dogus’s networks have found success with both home-grown and imported shows. On CNBC-e, worldwide hits including the BBC’s Merlin and Doctor Who, US network CBS’s comedy How I Met Your Mother, Starz original series Spartacus: Blood & Sand and HBO’s Game of Thrones have won strong audiences, while NTV’s documentary hour on Sundays and local news show Close Up are also popular.

Meanwhile, e2 has a slate of international productions including HBO’s Treme and BBC comedy Come Fly With Me, as well as US talkshows such as The Ellen Show, The Conan O’Brien Show and The Tonight Show with Jay Leno.

At Star, Ottoman Empire drama Magnificent Century (Muhtesem Yuzyil), made by TIMS Productions, was acquired from rival Show TV, in part to highlight the takeover completed by Dogus, and viewers have followed. “We obviously treated this transfer as a launch tool to attract attention to the change taking place at Star,” says Aydin. “It is doing very well since the story is quite appealing and tragic and it has a loyal audience. But Star will create its own productions soon enough.

“For the past three or four years, historical series have been on the rise, occupying a serious position in the entertainment world and attracting significant attention to certain periods of history. We believe this trend will continue for a few more years as there is quite a lot of historical material that can be used.”

Other popular shows airing on Star include Iffet, a drama about a woman who is betrayed by her lover; and One Man, One Woman (Bir Erkek, Bir Kadin), the Turkish adaptation of Canadian comedy series Un Gars, Une Fille.

Gameshows are also finding viewers and Star airs a version of Israeli format Still Standing, under the title Eyvah Dusuyorum, which is produced by Endemol Turkey. The channel is also prepping a Turkish version of US classic Jeopardy!. “In terms of primetime series, locally originated productions have been dominant until recently,” says Aydin.

One notable exception to this is Kanal D’s remake of long-running US drama Desperate Housewives, which is running as Umutsuz Ev Kadinlari, produced by Medyapim.

“We are always looking to acquire successful international content,” says Aydin. “Adapting scripts is a rising trend but it is quite difficult to find stories that fit the local culture. Producing original dramas will still be the priority of the sector.”

The number of programmes exported from Turkey is also on the rise, as shown by Magnificent Century’s roll-out into more than 40 territories worldwide by distributor Global Agency. “Turkish series have become quite popular abroad, especially in the Middle East. It is to such an extent that the popularity of these series has boosted interest in Turkey, creating a new line of tourism. It is an exciting but understandable development, given the proximity of the cultures.

“This growth will continue as long as series dominate the primetime hour. But will this spread to other regions? The answer to this lies in shortening the duration, the variety and the production quality of the projects,” explains Aydin.

“Primetime is dominated by Turkish series that run for three hours, with ad slots. A show that runs for almost three hours every week has the possibility of falling into a vicious circle and, currently, the Turkish television industry is suffering from this fatigue. It is having a negative effect, because in order to fill that time space, the stories become longer than usual and lose their dramatic effect.”

As Dogus has bought into Turkey’s mainstream television market with its acquisition of Star, so too have international broadcasters, which are looking to exploit one of the fastest growing TV markets in the world.

Discovery, National Geographic and Disney all have a presence in the country, and while not directly competing against Dogus’s stable of channels, their presence is a sign of the value of the market to foreign broadcasters.

However, Aydin says this competition is not something local networks have to fear, but is something they should embrace. “NTV has been the pioneer of news channels in Turkey by positioning itself as ‘the news channel of Turkey.’ But recently we have had international companies entering the scene, such as Al Jazeera,” says Aydin. “The existence of such competitors in the market is valuable and beneficial to raise standards. The same is also true for players like TNT and Fox in the entertainment world. Such international companies spice up the course of Turkish media.”

Since officially relaunching Star in January after completing the acquisition, Dogus is now preparing for a “second launch” this fall as the growth of the channel forms the focal point of the media group’s ambitions for the immediate future. Part of this plan is to follow the changing audience landscape in Turkey and, in particular, how younger viewers are taking their viewing habits online.

However, Aydin says traditional TV is still the main medium. “The most significant change in Turkey has been witnessed with the expansion of new media, with the mass penetration of internet into households,” he says. “Nevertheless, television is still the main source of information and entertainment.

“Turkish television is quite up to date with what happens in the international arena. The younger audience, on the other hand, is following TV online and has created its own digital entertainment world. We strive to create content that appeals to these youngsters as their habits will be determining the trends of the next few years.” »

Source : C21 media

« Bosnian star in Turkey for TV series » – Hürriyet Daily News

Terzic (L) Jolie pose in the premiere of ‘In the Land of Blood and Honey.’ REUTERS Photo. Source : Hürriyet

« Bosnian actress Alma Terzic has come to Turkey to play in the Turkish TV series “Mavi Kelebekler” (Blue Butterflies). The actress, who also performs in Angelina Jolie’s new movie, In the Land of Blood and Honey, will play in the first four episodes.  » […]

Source : Hürriyet Daily News

« Skyrocketing demand for soap operas beat satellites » – Hürriyet Daily News

Cast members from the hit show Muhteşem Yüzyıl (The Magnificent Century) Hürriyet photo

« Turkish television and cinema representatives have requested an increase in both domestic and international satellite capacity to meet skyrocketing demand, according to the general manager of Türksat Satellite Communications and Cable TV Management.

Türksat, Turkey’s current satellite infrastructure provider, does not have the necessary capacity to meet the needs of the booming Turkish television and cinema sector’s domestic and international satellite requirements, Özkan Dalbay said.

New satellites needed. The provider’s new 4A and 4B satellites, which are slated to soon go into service, will help ease some of the demand, he said, but added that even they would be insufficient in meeting demand at the current rate of development.

Dalbay also said Turkey’s plans to create its own domestic satellite were continuing in tandem with the 4A and 4B satellite project and that eight Japanese satellite production specialists were currently working on the endeavor.

“If we don’t face any problems, we plan to have a satellite production center in place by the end of 2013. Our domestic communications satellite project will also be completed by that date and production will begin at the facility,” said Dalbay, adding that Turkey would have its first domestically designed and produced satellite communications system in place by 2015 barring any glitches. »

Source : Hürriyet Daily News

« Deputy gets apology for series character » – Hürriyet Daily News

CHP deputy Nur Serter vows to file a complaint for the character in the TV series. Hürriyet photo

« A production firm publicly apologized to opposition deputy Nur Serter yesterday after she vowed to file a lawsuit over a new television series character – a prostitute-turned-brothel owner – bearing the same name as she.

“We apologize to both Ms. Fatma Nur Serter and the public for this incident that has come about due to a computer mistake, even though [this mistake] has not figured into the [actual] broadcast,” read the written apology issued by Süreç Filming, the company that produced the new series “Uçurum” (Abyss).

Main opposition Republican People’s Party (CHP) deputy Serter said the use of both her first and last names in the series could not be coincidental. “I am of the opinion [my name] was inserted there to serve a certain purpose,” she said, according to daily Hürriyet.  » […]

Source : Hürriyet Daily News

« In the ‘Valley of the Wolves’  » – Sunday’s Zaman

credits : Gael Turine. Source : Sunday's Zaman

« In January 2003, the TV series “Kurtlar Vadisi” (Valley of the Wolves) had just begun to be broadcast. It quickly became popular thanks to its references to politics as well action scenes Turkish viewers had not been much accustomed to in locally produced series. There are many TV series in Turkey that appeal to all sorts of viewer demographics. Among them are historical series, political ones, family series, action series and comedies. These series reach and are watched by not only large domestic audiences but many viewers outside of Turkey as well.

“Valley of the Wolves” wound up being so popular that it was followed by two full-length movies, featuring cast members from the TV show. “Valley of the Wolves: Iraq” took as its basis a real event that occurred in Iraq in 2003, when American soldiers held 11 Turkish soldiers captive. The film was shot on a $14 million budget, making it the most expensive movie shot in Turkey at the time. This was followed by “Valley of the Wolves: Palestine,” which put the spotlight on a multinational flotilla of ships, headed by the Mavi Marmara, a ship Israeli commandos attacked in international waters.

What Turkey’s various TV series have done is to turn the country into the Bollywood of Eastern Europe. The 3.5 million Turks living in Germany follow these series very closely. And regardless of the fact that standard TV series are not generally programs I choose to watch on a regular basis, the fact is that these Turkish productions are very well done. Teams of professionals work on these series to do the best job they can in the shortest amount of time possible. The popularity of “Valley of the Wolves” became more and more clear to me when I saw how many people were gathering in coffeehouses and Internet cafés to watch it. And these days — the new season has just begun — I can already sense the excitement this causes in the people around me.

GAëL TURINE (see http://www.timeinturkey.org/?p=photographer&l=23

[…]

Source : Sunday’s Zaman 

See also : Website of Gael Turine

 

Reports : RATEM

width="246"

SOME QUOTES FROM RATEM REPORT

Televizyon

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

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

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

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

Reports : RTÜK

 
SOME QUOTES FROM RTÜK REPORTS
(RADIO AND TELEVISION SUPREME COUNCIL)

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

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

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

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

 

p.41-42

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

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

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

See also : 

« Media and the city workshop » – ECREA

Organisers’ description:

The MEDIA & THE CITY Temporary Working Group is happy to announce the organization of its first Workshop. The Workshop will take place on FEBRUARY 10, 2012, at the CATHOLIC UNIVERSITY of MILAN, ITALY.

 

Workshop overview

The first TWG Workshop will feature parallel sessions and a final plenary. During the parallel sessions, members will be able to share and discuss their research. The final plenary session will discuss the organizational aspects of the Group and delineate future activities. Parallel sessions will be open to all interested scholars, while the plenary will be open only for TWG members.

 

Selected papers (see website for full details):

Giorgia Aiello – The urban built environment as global(ist) communication: Concepts, methods, critique

Clemens Apprich – Rise and fall of the city metaphor to describe digital networks in the 1990s

Girogio Bacchiega – Peripheral views on Milan

Giovanni Caruso, Riccardo Fassone, Gabriele Ferri and Mauro Salvador – Check-in everywhere: Places, people, narrations, games

Mariana Ciancia and Walter Mattana – Imagine Milan: An audiovisual design thinking approach to the image of the city

Andrea Cuman – Hardcopy vs digital mobile travel guidebooks: A preliminary comparison on mediated spatial interactino and a case study

Amedeo Damato – Cities of blood and longing. The protagonist’s architectural projection in Hollywood cinema

Miriam De Rosa – Cinematic architectures IN SITU. Notes on the participatory construction of a visual urban imagery

Manuela Farinosi – New media and the city in an « out of ordinary » context: Exploring the motivations behind the citizen journalism production after a natural disaster

Gabriele Ferri and Patrick Coppock – Serious urban games. From play in the city to play for the city

Katalin Feher – Digital urban identities

Cezary Hunkiewicz – City as a medium: The space and street art activities

Angelo Imperiale – Avoiding urban marginality: How to build social sustainability?

Sami Kolamo – Branding urban spaces through football media spectacles

Peter Maroldt – New media and the Asian city

Gonca Noyan – Old bridge as a symbol of multiculturalism: Global discourse and local narratives in Mostar

Christian Oggolder – Losing centrality – urban spaces and the network society

Seja Ridell – The cybercity as a medium. Public living and agency in the digitally shaped urban space

Gabriella Sandstig – There is a light that never goes out – cultivation effects on the freedom of movement in urban and suburban public places

Barbara Scifo – The sense of place from mobile communicatino to locative media

Katia Segers, Joost Vaesen and Rudi Janssens – Opportunities and dangers of Brussels media for its Dutch-speaking minority. Research on audience use, expectations and appreciation

Satomi Sugyiama – The muted mobile in Tokyo

Moira Sweeney – Space and the geographical imagination on the Dublin Docklands

Robert Szwed – Researching media representations of the city. Preliminary remarks on how to measure representations of Lublin, Poland

Matteo Tarantino and Simone Tosoni – Convergent media and social production of space: An approach through controversies

Federica Timeto – In the middle of urban space: The case of critical city

Ferenc Zsélyi – Concrete dreamworks

Ferenc Zsélyi, István András and Mónika Rajcsányi-Molnár – Global staging in a postindustrial city: Dunaújváros, the media platform of intercultural networking

Weiming Ye – Phoenix man and woman: Discussions on urban and rural gap in Chinese BBS forums

« Yahya Üzdiyen becomes chief executive of Doğan » – Hürriyet Daily News

Yahya Üzdiyen’s post as Doğan chief executive starts today. Source : Hürriyet

« Turkey’s Doğan Holding has appointed Yahya Üzdiyen as its new chief executive, according to a company statement to the Istanbul Stock Exchange yesterday.

Üzdiyen was already serving as the deputy chairman of the company.

Born in 1957, Üzdiyen graduated from the Middle East Technical University’s business administration department in 1980. Until 1996, he worked as an executive in various private sector companies. In 1997, he was transferred to Doğan Holding as strategy group chief. He had been serving as the deputy chairman since Jan. 18, 2011, according to the company statement. »

Source : Hürriyet Daily News