Fiche : Quelques séries à suivre…

Ce billet de synthèse a pour but de préparer les entretiens de terrain 2011-2012, permettant de compléter mon étude par une approche plus qualitative des modes de production et de création des séries télévisées en Turquie. Le choix de ces titres s’est opéré en prenant compte des critères suivants : diffusion sur des chaînes privées différentes, taux d’audience importants, séries en court de tournage sur la période 2011-2012, genres différents, accès aux plateaux de tournage ou/et avec des personnes impliquées dans sa réalisation (acteurs, producteurs, scénaristes, diffuseurs).

  • OYLE BIR GECER ZAMAN KI – KANAL D / D YAPIM
  • MUHTESEM YUZYIL – SHOW TV / TIMS PRODUCTION
  • KURTLAR VADISI PUSU – ATV / PANA FILM
  • BEHZAT Ç – STAR TV / ADAM FILM

Continuer la lecture de Fiche : Quelques séries à suivre…

“Turkish filmmakers hit the road for upcoming season” – Todays Zaman

Director Çağan Irmak (R) and cast members are seen on the set of Irmak’s upcoming film, “Dedemin İnsanları.” Source : Today's Zaman

“Summer is here, meaning it’s time for “Action!” in the Turkish movie industry. These days every corner of Anatolia is home to a movie set, with filmmakers and their crews hitting the road for next season’s titles. Here’s a brief overview of what’s coming soon to a theater near you.

Considering that 65 Turkish productions hit the big screen over the past 12 months, we will obviously be hearing more from movie sets around Turkey over the next three months; but for now, here’s a quick look at those who have already started work on their new efforts. (…)

Behzat Ç. jumping to the big screen

“Behzat Ç.,” the phenomenal Turkish crime series that became an instant hit with TV audiences since its launch at the beginning of this season, will be making a leap to the big screen later this summer. Famous stage and screen actor Erdal Beşikçioğlu reprises his title role as the hard-drinking, foul-mouthed chief inspector of the Ankara Police Department’s homicide bureau in the film version, which will be directed by Serdar Akar, who has also directed key episodes of the TV series.(…)

Source : Today’s Zaman

 

“Les « novelas » turques, un modèle qui s’exporte” – La Croix

Un marchand libanais de Saïda prosose des tee-shirts à l’effigie des acteurs dela série turque Noor. Photo : MAHMOUD ZAYAT / AFP

Les feuilletons bousculent les tabous des sociétés arabes conservatrices.

Un secteur stratégique pour la Turquie, dont les séries sont diffusées dans le monde arabe et au-delà.

Les séries télévisées turques ont le vent en poupe dans le monde arabe. « Tout a commencé il y a cinq-six ans, se souvient Hulya Tanriover Ugur, responsable du module cinéma à l’ université Galatasaray, à Istanbul, avec la série télévisée turque Gümüs, diffusée dans le monde arabe sous le nom de Noor. »

Une love story qui raconte les tribulations du couple formé par Nour et Mohannad, campé par le « Brad Pitt » oriental, Kivanc Tatlitug. Une histoire à l’eau de rose où, à la suite de la mort accidentelle de sa petite amie Nihal, Mohannad fait une grave dépression. (…)

Source : La Croix

 

“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

 

“Doğan Yayın: unit tax fine slashed to 129 million lira” – Sabah

Source : Sabah

“Turkey’s leading publishing group Doğan Yayın said on Wednesday a tax fine for its Doğan Produksiyon unit had been reduced to 128.7 million lira ($80.94 million) from a previous 863 million under a tax amnesty deal.

Doğan said that this, the latest in a string of tax amnesty deals, brought its total tax fines to 988 million lira from a previous 4.2 billion lira. The group has not yet completed appeals on a remaining 770 million lira worth of tax fines.”

Source : Sabah

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

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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

“Cukurova in talks to sell Show TV stake” – Sabah

“Turkey’s Cukurova Holding is in talks with two U.S. private equity firms to sell as much as 49 percent of its television channel Show TV to finance tax debts, a source close to the matter told Reuters.

Cukurova, which controls the country’s biggest mobile network Turkcell, is talking to KKR and Texas Pacific Group, the source said.

“Cukurova Group wants to keep a 51 percent stake,” he said.

Show TV is valued at at least $800 million and the valuation could easily rise above $1 billion based on a multiple of 12 times earnings, the source said.

Turkcell recently said it received orders from tax offices for the sequestration of the Turkcell assets of Cukurova for 1.68 billion lira ($1.06 billion) due to tax debts.

The source said Cukurova’s other units including Digiturk and Genel Enerji may be subject to stake sales to finance the tax debts.”

Source : Sabah

First explorations of television audience survey datas (from Medyatava-AGB Nielsen)

Last update : may 18th 2011

I used excel’s macros programming (cf. this article for the technique) to gather into one database several informations about the daily audience of television in Turkey since 2004 containing : target group, day of diffusion, name of the program, channel of broadcasting, score of audience, rating, and market share. The period studied in that database runs from June 11th 2004 to May 1st 2011, and represents approximately, so 2500 days and 500.000 different programs referenced.

NA : in order to share those results with turkish colleagues more easily I tried to write this article in English. I apologize in advance for the grammar faults I’ll certainly do. You can post comments if some parts seems not understandable.

I considered that part of my thesis as a complement to other datas I presented into another articles (timelinesTV production informations). On the frame of a scientific research the global intention of this new quantitive work is to prepare, by gathering various quantitive facts or infos about my subject (tv turkish series production from 1970 to now) some sufficient factual backgrounds to lead further qualitative and theorical analysis.

THE DATAS :

Before any consideration I wanted to give some infos giving an idea of the turkish population concerned by the television. In Turkey, for a population of 72 millions inhabitants and 18,3 millions households in 2009, 17,9 millions have a tv (so 96%). It means around 71 millions turks were in 2009 able to watch television at home. (source : EU, MAVISE )

The audiences datas presented below were first produced by AGB Nielsen, then published day by day on Medyatava since June 2004.

According to their website “Nielsen Audience Measurement Turkey has been conducting Television Audience Measurement (TAM) services in Turkey since 1989. Today, the panel represents the urban Turkish population with 2500 households“.

KEY FACTS
Population: 72,561,312 total / 60,264,546 urban (2009 population)
Panel Size: 2,500 households
First data production: 1989

 
 

THE PANEL
Peoplemeters installed: 3,500 to 4,000
Universe: 51,657,783 (representing age 5+ urban population)
Data monitored: Terrestrial, cable and digital satellite
Data retrieval via: Phone lines

 

(Source : AGB Nielsen)

The main critic we could do about the audience survey by AGB Nielsen is the lack of precisions concerning the method they use to obtain their numbers. It’s also interesting to notice that AGB Nielsen is nowadays living the end of a crisis lasting since 2007 between them and the turkish government (cf “revue de presse” and this article), their contract coming also to an end. Anyway the interest of doing this study is the monopolistic position of AGB Nielsen in the audience measurement in Turkey. Even if the figures given by AGB are suspicious, the fact stays that every private channel has to refer to their numbers to decide of a broadcasting strategy.

Another precisions and definitions concerning the reading of the graphs :

  • Audience rating : from 0% to 100%, 0% meaning nobody watched the program, 100% the whole sample population watched it.
  • Audience score : from 1st to 100th place. A good score could be a high or low rate depending on the other audience ratings ; it’s relative.
  • Number of programs : quantity of programs broadcasted.
  • AB group / TÜM group : groups of population defined by AGB Nielsen. I don’t have yet a lot of information about the groups composition. So as a first exploration, this analysis will just focus on one : the AB group, seeming to be the “high and middle class”, the one interesting the most for advertisement sellers.

AUDIENCE ANALYSIS :

I’ll present therefore a serie of various graphics intending to measure the importance of TV series audience amongst other kind of programs into the grid of the channels. At this step of the analysis the audience analysis can be approached by different ways : the program typologies, the channels grid’s structuration, and the periodicities of audience.

The audience data is a key fact for any channel studied : the audience weights the price of the advirtisement space in the broadcasting grid, and so the capacity of revenue of the channel. The higher audience gets, the more expensive you can sell advertisement. It seems quite important to analyze audiences and its impact on creation considering the behavior of other channels as in Turkey as abroad : for instance it’s well-known in America the channels are monitoring very carefully the audience’s curves and make changes to the contents, to the scenario, to get better audience rates. The situation in Turkey seems to be likewise and any telespectator in Turkey could see what importance and presence got the sponsors into the production of a tv serie.

1/ PROGRAMS TYPOLOGIES

The first graph presented above compares the audience score rates (from the 1st viewed to the 100th) of different categories of programs :

Cartoons, Concerts, Daily Magazines, Documentary, Film Foreign, Film Turkish, Health/Service Education, Humour, Magazines, Meeting/Discussion, Music/Entertainment, News report, Newscast, Politics, Reality Show, Religious, Serials Foreign, Serials Turkish, Sport News, Sporting Events, Sporting Magazine, Studio Programs, Talk Show, Theatre/Cabaret/Musicals, TV Games, Weekly Magazines, Women.

Audience scores analysis by programs typologies (click for a full view)

Reading the graph : We can see on this graph a very distinguished preferences from the audience (10 first rates ) for turkish series and newscasts, the third prefered kind of program being the TV games. The particular observation with this chart is the relative constance of those curves for every typology from 10th to 100th rating score. The interpretation we could do at this point (as a hypothesis) would be the following :

Above another graph in the same spirit but slightly different. In that graph the scores (x axis) are replaced by constant ratings, so the interpretation deals with another fact : the “left-behinds” turkish series programs.

Audience rating analysis by programs typologies (click for a full view)

Reading the graph : In my interpretation of this graph, the “left-behinds” turkish series are the programs in orange at the left side of the graph, composing the big orange curve. Those programs get a very low audience (less than 10% on the x axis) but are massively produced ! That fact seems quite paradoxical but could be seen as an effect of the inflation of the tv series production – the so-called “Yesilcam” era for tv series. It could be explained by the will of producing more and more series, hoping one of them gets good rates. Series being the most successful way to have audience, more producers invent series concepts. Logically this “liberal” way to produce generates more offer than demand, and we can imagine half of series production has just succeeded in starting but not lasting. This could be the dark side of series production : the inflation of ideas and careers left behind because of their lack of capacity to get audiences.

2/ CHANNELS

The previous graphs were more dealing about the repartition of the whole programming between various typologies, without precising on which channels they were broadcasted.

The next graph shows how every channel compose its own grid of programs.

Channel programmation composition by typologies (%) (click for a full view)

The next graph shows the numbers of TV programs rated from 1st to 10th, classified by channels.

Scoring audiences by channel (click for a full view)

There is another way, perhaps more explicit, to show those figures using the percentages.

Audience scoring audiences by channels (%) (click for a full view)

Reading the graph : On the 18 channels presents in the AGB Nielsen datas, only 4 are getting more than 80% of the 10th first rates. So, if we trust AGB sources, the spectators are mostly watching ATV (in blue), KanalD (orange), Show TV (clear blue) and Star TV (pink). It’s also good to notice in the margin that TRT is treated differently by AGB Nielsen since 200…

The interesting fact showed by these numbers is the constance of this repartition in the 10th first rates.

3/ PERIODICITIES

Another important factors of the composition of broadcasting are the cycles of programs typologies choices within a day, within a week, or within a year. The time factor is a complex data to compute on a day-by-day database.

The two next graphics shows clear cycles on year-scale illustrations :

Audience ratings for 1st score by major typologies (click to a full view)
Average audience rating by day of broadcasting for the 1st rating score (click to a full view)

Reading the graphs : every summer (between june and august) since 2005 registers a clear decrease of audience. We could also note that turkish series (in blue) gets most of the highest rates the whole year compared to other programs, as we can see by the “clouds” of high rates.

The serie of the next three graphics focuses on turkish series programmation and their periodicity by month  :

Turkish series analysis by month - average / quantities (click to get a full view)

Turkish series analysis by month – average / percentages (click to get a full view)

Turkish series analysis by month, year of programmation and audience scores - quantities (click to get a full view)

Reading the graphs : As we’ve seen before, the summer period could be considered as an empty one for series. But here the curves for all audiences scores and 10th first audiences scores are very different : as  the total of programs broadcasted is merely stable the whole year (just february, march and june registering a light decrease), the curve of best scores is much more flexible and increase from january to march. We could input that to a big difference of strategy of diffusion between series in general and series gaining the first 10th scores. Perhaps after a couple of month of tests, the less competing series are ended at the benefit of the other, then more broadcasted

Furthermore the last graph shows the increase of serie’s diffusion from 2005 to 2010 in the absolute, with two years having real particularities : 2008 (the month of August for first audience score shows a peak) and 2010 (the absolute quantities of series broadcasted for all scores and for the first score).

The next graph focuses on a week-scale analysis, showing the percentages of programs broadcasted by their typology every day.

Typologies by weekdays (%) (click for a full view)

Reading the graph : Once more we can see the importance of turkish series in the grid compared to other kinds. Series are mostly working-days programs, the saturday and sunday gaining good audiences with other kinds of programs like TV games. For instance the mondays, the first 10th best audiences are usually generated by turkish series (50%), then by newscasts (25%), and the rest stays under 10% or less.

LIMITS AND CONCLUSIONS :

To be understood clearly, I wanted to precise I tried to keep in mind during this study that the figures given by AGB Nielsen should be taken with many precautions : first because of the different complaints opposing AGB and the government on the accusation of manipulating the datas, and secondly because of the absence of another major channels like TRT. So it’s clear AGB figures doesn’t have to be taken as a reflect of the reality of the audience, but as a tool inside the TV production chain.

Taking in consideration those limits the interest of this database lies anyway in the possibility to show how the different program typologies, the channels, the schedule of broadcasting and the ratings are interrelated, constituting a field in a Bourdieusian way to speak. To complete those diagrams by a field analysis, a factorial correspondance analysis would be necessary and should be the main topic of a next article.

As a first conclusion it’s obvious to say turkish series have a strategical importance in the channel’s capacity to get audience, and mechanically to get revenues from advertisement. More than strategical it’s nowadays the first kind of program getting best audiences.  This capacity reveals interesting characteristics of the TV production for private medias in Turkey : even if in Turkey the topics of series are very dependent with local cultures and so differentiate production from US, the logic of “market” and the inflation effects related are similar.

A second conclusion to this article would be the help those analysis gave to give more precision to my phd thesis. It’s one thing to know that generally tv series are important in the television panorama, it’s another to be able to give precise datas about it. Furthermore, crossing those reflexions with previous ones, those analysis allow me to choose with more arguments a reduced panel of channels (ATV, SHOW, KANAL D and STAR TV) being the channels whiches are in the same time major producers of TV shows, and the most dependent on audiences rates in their capacity to attract advertisement funding.

Les séries télévisées américaines contemporaines : entre la fiction, les faits et le réel – Paris Diderot, du 5 au 7 mai 2011

Depuis le milieu des années 1990, les séries américaines connaissent un nouvel « âge d’or », marqué par des productions de grande qualité, par un engouement international spectaculaire (lié aussi aux nouveaux modes de visionnage – DVD, streaming ou VOD), et par un nouveau respect critique pour la forme elle-même. Ce colloque se propose d’explorer le lien que tissent ces œuvres entre fiction et réalité. Pourquoi, par exemple, certaines réalités semblent-elles se prêter plus particulièrement à la forme sérielle (le monde médical, policier, ou judiciaire par exemple)? Les communications pourront aussi s’interroger sur l’idéologie qui sous-tend les choix de la fiction : quelle fonction la fiction a-t-elle quand elle prend en charge un certain aspect de la réalité (sociale, politique, économique) à un moment donné ? (comme la représentation de l’administration américaine dans The West Wing [A la Maison Blanche], ou la dénonciation des dysfonctionnements institutionnels dans The Wire [Sur Ecoute]).

Les approches plus esthétiques et formelles pourront se pencher sur les modes et stratégies utilisées par ces fictions pour représenter le réel. En quoi consiste le « réalisme » prétendument affiché par certaines d’entre elles, depuis la représentation en « temps réel » de 24 jusqu’à l’utilisation de la caméra à l’épaule dans Californication, ou encore aux détails corporels très crus de Nip/Tuck ? D’autres œuvres, au contraire, témoignent d’une ambition de stylisation ou de caricature (Desperate Housewives), et que dire des mondes fantasmés de Battlestar Galactica ou True Blood, ou du rapport à une quelconque « réalité historique » dans des séries comme Deadwood, Mad Men, ou Rome ?

Ce lien entre fiction et réalité pourra aussi nous aider à réfléchir sur la manière dont ces séries s’inscrivent dans la réalité même des spectateurs. Le processus d’identification et d’appropriation semble atteindre des niveaux sans précédents. Les spectateurs poursuivent l’expérience de « leur » série sur internet, par des discussions, des « re-créations » audiovisuelles, ou tout simplement par la consommation de produits dérivés. Les séries influent par la suite sur la manière dont nous appréhendons la réalité qui nous entoure. De tout temps bien sûr, l’individu s’est construit en partie grâce aux fictions auxquelles il était exposé, mais on pourra s’interroger, lors de ce colloque, sur la spécificité de l’impact des séries sur le spectateur, qui y trouve à la fois le pouvoir hypnotique et séducteur du film de cinéma et le plaisir de la complexité narrative et de la durée plus généralement associé au roman littéraire.

Comité scientifique :
Ariane Hudelet (Etudes anglophones, Université Paris Diderot)
Sophie Vasset (Etudes anglophones, Université Paris Diderot)
Pierre-Olivier Toulza (Etudes cinématographiques, Université Paris Diderot)
Marjolaine Boutet (Histoire, Université d’Amiens)
Sarah Hatchuel (Etudes anglophones, Université du Havre)
Monica Michlin (Etudes anglophones, Université Paris IV-Sorbonne)
Thibaut de Saint-Maurice (Philosophe, Lycée Richelieu, Rueil-Malmaison)

Contacts : Ariane Hudelet et Sophie Vasset

 

Programme du jeudi 5 mai 2011

  • 13h30 : accueil et inscriptions
  • 14h00 : ouverture du colloque (Ariane Hudelet et Sophie Vasset)

 

Panel 1 : Quelle réalité, quelle fiction ?
Présidente de séance : Ariane Hudelet

  • 14h30 : De quel réalisme la sérialité est-elle la forme ? – Thibaut de Saint-Maurice (philosophe)
  • 15h : Le temps des séries – Jean-Pierre Esquenazi (Université Lyon III)
  • 15h30 : Du roman réaliste à la série télé, la fresque sociale en miettes – Antonia Zagamé (CNRS)
  • 16h30 : Effet de réel contre réalisme dans les séries télévisées contemporaines – Hervé Glévarec (CNRS)
  • 17h : The treatment of the law: between reality and imagination in television legal series – Barbara Villez (Université Paris 8 )
  • 17h30 : Les séries judiciaires : histoires de cour, histoires de cœur. L’écriture dramatique au service de la culture juridique – Nathalie Maroun Taraud (ENS Ulm)

 

Programme du vendredi 6 mai 2011

Panel 2 : Histoire et histoires
Présidente de séance : Marjolaine Boutet

  • 9h : Les séries historiques entre la fiction et le réel : quand les scénaristes rivalisent avec les historiens – Ioanis Deroide (Historien, lycée Richelieu, Rueil Malmaison)
  • 9h30 : “The West Wing with Wigs?”: Politics and History in HBO’s John Adams – Aurélie Godet (Université Paris Diderot)
  • 10h : Les bonds historico-médiatiques de Sam Beckett. Code Quantum, voyage au temps des images -Vincent Baticle (Université Paris Diderot)
  • 11h : Fiction and Reality in TV Series Portraying Presidents: Reality effect, Déjà Vu, Groundhog Day, Prophecy, or Time Warp? – Monica Michlin (Université Paris Sorbonne)
  • 11h30 : « Qumar », le pays qui n’existait pas. The West Wing et le spectre du Moyen-Orient – Joseph Belletante (Triangle, ENS-LSH)
  • 12h : Le remake de la série V et le système de santé universel de Barack Obama: entre réalité et fiction, histoire d’une défaite programmée – Audrey Viguier (University of Florida)

 

Panel 3 : Réalisme du corps
Présidente de séance: Sophie Vasset

  • 14h : Evidence of the Body: Death, Illness and Representation of Truth in Contemporary American TV series – Maria Neklyudova (Russian State University of Humanities, Moscou)
  • 14h30 : Au plus près de la chair : corps malades et corps morts dans les séries contemporaines (titre provisoire) – Maud Desmet (Université de Poitiers)
  • 15h : Deadwood entre réalité et fiction : inscription de l’Histoire, figurations du corps, et jeux de langage – Gilles Menegaldo (Université de Poitiers)

 

Panel 4 : Esthétiques du réalisme
Présidente de séance : Shannon Wells-Lassagne

  • 16h : Mad Men, Nostalgia, and the Aesthetics of Consumption, or: Don Draper Gets an iPhone – Simone Knewitz (Bonn University)
  • 16h30 : Fiction and Reality in HBO’s Treme : A Narrative Alchemy at the Service of Political Truth – Catherine Dessinges, Dominique M. Gendrin, Wendy Hajjar (Tulane University)

 

Panel 5 : Genres et publics
Président de séance – à confirmer

  • 14h : House of mirrors: New realities, new fictions of the suburbs in The Middle – Donna Spalding Andreolle (Université Stendhal – Grenoble III)
  • 14h30 : The L Word : Le réel sous le glamour : ou “The way that they live” – Adrienne Boutang (Université Paris 3 – Sorbonne Nouvelle)
  • 15h : Veronica Mars vs Don Draper : le réalisme des séries adolescentes contemporaines – Pierre-Olivier Toulza (Université Paris Diderot)
  • 16h : Is there a Doctor in the HOUSE ?: les séries télévisées médicales face au monde réel – Pamela Tytell (Université Lille 3)
  • 17h : “Unreal” gender messages in late 90s women-centered action dramas – Anne Sweet (Université Paris 3- Sorbonne Nouvelle)

 

Programme du samedi 7 mai 2011

Panel 6 : Représenter quelque chose qui n’existe pas : de l’Antique à la science-fiction
Présidente de séance : Sarah Hatchuel

  • 9h : Jules César au secours des américains : l’incipit de la série Rome – Julie Gallego (Université de Pau et des Pays de l’Adour)
  • 9h30 : Rome : un péplum enfin réaliste ? – Vivien Bessières (Université Toulouse II, Le Mirail)
  • 10h : Rome ou le grain de l’antique – Isabelle Schmitt-Pitiot (Université de Bourgogne, Dijon)
  • 11h : Occupation, collaboration, résistance et épuration dans la troisième saison de Battlestar Galactica – Marjolaine Boutet (Université d’Amiens)
  • 11h30 : Battlestar Galactica and the Global War on Terror – Lori Maguire (Université Paris 8 )
  • 12h : De Babylon à Caprica: la nouvelle science-fiction télévisuelle et l’effet-réalité – Medhi Achouche (Université Stendhal, Grenoble)

 

Panel 7: Du crime au châtiment
Présidente de séance : Barbara Villez

  • 9h : Quand la fiction irrigue la réalité : les usages sociaux des séries policières dans la fiction policière – Guillaume Le Saulnier (Université Paris 2)
  • 9h30 : Qu’y a-t-il de « policier » dans les séries policières ? – Yann Philippe (Université de Reims)
  • 10h : Entre ombres et lumières : les figures de policiers en eaux troubles, symbole d’une Amérique en perte de repères (The Shield, The Wire, Dexter) – Julien Achemchame (Université Paul Valéry, Montpellier)
  • 11h : La perspective narrative dans les séries « Cop and Lab ». Quelles contributions aux représentations du monde scientifique et technique ? – C. Bruguière (Université Claude Bernard, Lyon), M. Chouteau (INSA, Lyon), C. Nguyen (INSA, Lyon), E. Triquet (Université Joseph Fourier, Grenoble)
  • 11h30 : From Oz to Lockup: Bringing Prison Life (Back) Home – Claudia Schippert (University of Central Florida, Orlando)
  • 12h : Fictions et réalités : principes miroirs ? Castle ou la rencontre de la vie et de l’écrit – Anaïs Kompf (Université Paris Diderot)

 

Panel 8: L’inquiétante étrangeté
Président de séance : Monica Michlin

  • 14h : Twin Peaks, conte de la modernité, modernité du conte – Marine Legagneur (Université Paris 3-Sorbonne Nouvelle)
  • 14h30 : X-Files : allégorie de la condition postmoderne du monde – Frédéric Gai (Université de Caen)
  • 15h : “Reality lies elsewhere? Le néo-réalisme fantastique dans quelques épisodes de X-files” – Emmanuëlle Delanoë-Brun (Université Paris-Diderot)

 

Panel 9: Déformation et marginalité comme mode de représentation
Président de séance : Emmanuelle Delanoë-Brun

  • 14h : “Alan Ball’s California and Louisiana series: a troubled state of the nation” – Anne-Marie Paquet-Deyris (Université Paris X-Nanterre
  • 14h30 : Which is the “True Blood”?: A Reflection on Otherness in Contemporary America – Marta Bosch (University of Barcelona)
  • 15h : Carnivàle entre fiction et réalité historique – Jean Du Verger (Université Paris 5-Sorbonne)

 

Panel 10 : Conclusion : le vertige post-moderne ou la fusion entre réalité et fiction
Président de séance : Pierre-Olivier Toulza

  • 16h : Lost in Lost (le retour): Réalité alternative et/ou fiction collective – Sarah Hatchuel (Université du Havre)
  • 16h30 : Transforming the traditional sitcom: the postmodern reflexivity of Abed in Community – Shannon Wells-Lassagne (Université Bretagne Sud)
  • 17h : Desperate Housewives : fiction de toutes les fictions – Renan Cros (Université Paris Diderot)

Istanbul demography and Turkey timelines (1900-2011)

Last update : may 5rd, 2011 (262 historical events in 10 categories)

I just produced a basis for a timeline mixing some historical datas I wanted to compare : economics, medias, political events, global context, demography, etc. related with Turkey’s and Istanbul’s history. The purpose of this little work is to contextualize on a century scale the apparition of TV medias in Turkey and in Istanbul metropolis, and also to share with other searchers a timeline resuming Turkey’s important events.

This chart would need more further precisions, especially on sources, and would need more informations on medias major events (legislation and so on). So this article should be updated regularly…

NA : This article and the chart are in english because the sources were so.

Click on the picture to a full-view size

The events are classified between 10 families of events :

01 – INTERNATIONAL CONTEXT
02 – ECONOMY
03 – POLITICS
04 – MEDIAS
05 – ISTANBUL GOVERNMENT
06 – INDUSTRIES
07 – CULTURE
08 – TRANSPORTS
09 – URBANIZATION
10 – BUSINESS DISTRICT

Sources : “Development chart of Istanbul metropolitan area” / N. Monceau (dir.) “Istanbul”/ J.F. Pérouse “La Turquie en marche” / Wikipedia

Continuer la lecture de Istanbul demography and Turkey timelines (1900-2011)

“Dogan group sells two leading newspapers” – Sabah

“Dogan Gazetecilik, the newspaper publishing unit of Turkey’s biggest media group Dogan Yayin, said Turkey’s Demiroren-Karacan partnership agreed to buy Milliyet and Vatan newspapers for $74 million.

Demiroren-Karacan group will pay $26 million for Vatan newspaper and $47.96 million for Milliyet, Dogan Gazetecilik said in a statement to the Istanbul Stock Exchange on Wednesday.

Dogan Gazetecilik shares were up 14.3 percent after the news but by 1418 GMT had reversed direction to trade 5.3 percent lower.

The shares fell because the sale price of the newspapers was lower than Dogan Gazetecilik’s market value, said analyst Hasan Sener at Oyak Securities. The newspapers make up the bulk of the company.

Dogan Gazetecilik’s market value stood at $283.7 million at yesterday’s close.

With the sale of Milliyet, the newspaper is back to its previous family owner.

Ali and Omer Karacan, who own the Number One broadcasting group, are the grandchildren of the founder of Milliyet, Ali Naci Karacan. Karacan sold the newspaper to Aydin Dogan in 1979.

The Karacan family has set up a partnership with Demiroren Group, which has interests in liquid propane gas and construction, to buy the newspapers.”

Source : Sabah

“SABAH receives three awards from İMEDYA” – Sabah

Source : Sabah

“Last night, İMEDYA’s “2010 Stars of Economy Awards” were distributed to their rightful owners in an awards ceremony. While SABAH was selected as the year’s most successful newspaper, Aytuğ and Yaşar were also awarded for their contributions.

Sabah received three awards in last night’s ceremony for the 10th Annual İmedya TV and 2010 Stars of Economy Awards”, which named Prime Minister Tayyip Erdoğan as 2010’s “Most Successful Leader.”

SABAH Editor-in-Chief Erdal Şafak received the award granted to the newspaper, while Yüksel Aytuğ was awarded as the most successful magazine columnist.

The third award recipient from SABAH Newspaper is Economy Writer Süleyman Yaşar. Yaşar received the Economy News Ethics Award, which is granted to promote serious, superior, high-quality, moral articles befitting of the sector’s ethics.

A COLOURFUL NIGHT

Last night’s İmedya Awards Ceremony, which was attended by Prime Minister Erdoğan, was a lively event. Held in the Rixos Hotel; amongst the attendees were Deputy Prime Minister’s Bülent Arınç and Cemil Çiçek, State Minister Zafer Çağlayan, former Minister of Transportation Binali Yıldırım, State Minister Egemen Bağış as well as a number of prominent figures from the economy world as well as famous musician Orhan Gencebay. Acclaimed clarinetist Hüsnü Şenlendirici added colour to the evening with a performance. While delivering an opening speech, İmedya Executive Board Chairman Münci İnci addressed Prime Minister Erdoğan by saying, “I love you.” Deputy Prime Minister Çiçek, Foreign Affairs Minister Ahmet Davutoğlu, State Minister Çağlayan, former Minister of Transportation Yıldırım and State Minister Ali Babacan were selected as the most successful ministers in 2010.

CONGRATULATIONS

Istanbul Mayor Kadir Topbaş was selected as the most successful municipal mayor. The award for the most successful banks for 2010 was awarded to Halk Bank and Garanti Bank. The most successful businessman award went to Ferit Şahenk and Fettah Tamince. Özgü Namal was selected as the most successful television series star for her role in Hanımın Çifliği. The awards for the most successful music stars were granted to Mustafa Ceceli, Enbe Orkestrası, Sertab Erener and Sıla. Meanwhile, the evening’s honorary award was handed to Orhan Gencebay. During his address, Gencebay delivered a message of brotherhood and afterwards Prime Minister Erdogan went and personally congratulated the musician.

The AWARD FOR 2010’S MOST SUCCESSFUL LEADER

After being selected as the most successful leader in 2010, and as he received his award, Erdoğan went on to state, “We do not make promises we cannot fulfill. In the past empty promises were made. Years past and none of these promises came to fruition.””

Source : Sabah

“We began promoting the “Magnificent Century”, agency CEO says” – Cumhuriyet

“Chief Executive Officer (CEO) of Global Agency, Izzet Pinto, said Thursday that they began to promote the “Muhtesem Yuzyil (Magnificent Century)” TV series.

Speaking to the AA at a fair on television broadcasting in Istanbul, Pinto said that they would host a party in Cannes for 500 people, including global buyers, in three weeks and begin exporting the “Magnificent Century” to the whole world.

Around 4-5 years ago, I met with the creator of “Will You Be My Bride?” and I entered this sector. The format of this TV program was sold to about 30 countries, Pinto said. 

Following the format business, I entered the soap operas sector. Three years ago, I began representing “Binbir Gece (1001 Nights)”. This soap opera was sold to many countries. I sold it to the whole Balkans. The soap opera was liked so much that people began naming their children in Serbia and Croatia as “Sehrazat” and “Onur”, Pinto said. 

Later, I began representing the scenario rights of “Ask-i Memnu (The Forbidden Love)”. We have signed a contract with the Italian Berlusconi TV channel for “The Forbidden Love” and are conducting negotiations with the United States and other European countries to market this TV series, Pinto underlined.

Our portfolio includes 26 projects, Pinto said. We have sold “Will You Be My Bride?” to India and the first live marriage took place in our program, Pinto said.

Turkish soap operas and films have millions of watchers in the Balkans. Greece was a country in which Turkish series were not broadcast in the past. Only “Yabanci Damat (The Foreign Groom)” was broadcast as a joint production. However, “1001 Nights” became a phenomenon once it was broadcast in Greece, Pinto stressed.

The TV series market provides a revenue of around 50 million USD to Turkey. In the next 4-5 years, Turkey will earn around 500 million USD from TV series and I expect a 20 percent share in this market, Pinto said.

The greatest impact of TV series is felt in tourism. The number of tourists coming to Turkey from the Middle East went up 100 percent while the number of tourists coming to Turkey from the Balkans went up 200 percent, Pinto said.

We are currently working with 40 countries and are in touch with 100 other countries. Greece’s biggest TV channel ‘Mega TV’ is our world distributor while big producers of TV series in Argentina and Venezuela are distributors in the Balkans, Pinto said.

We are exporting format to China. “Will You Be My Bride?” will soon begin in China. Normally, China copies everything. For the first time in their history, they have actually paid to receive a format, Pinto noted.

Since our business is global, we want everyone to be interested in our projects. We grow by 100-200 percent annually. We have a good trade mark. We want our shares to be traded at the London Stock Exchange in two years, Pinto added.”

Source : Cumhuriyet

“Suleiman the Magnificent TV drama opens Turkish divide on religion” – Reuters

(Demonstrators attack billboards advertising the TV series "The Magnificent Century" in Istanbul January 9, 2011/Murad Sezer )

“A steamy television period drama about a 16th century sultan has angered conservative Muslims in Turkey and sparked a debate over the portrayal of the past in a country rediscovering its Ottoman heritage.

“The Magnificent Century” chronicles the life of Suleiman the Magnificent, who ruled the Ottoman Empire in its golden age. Scenes which have particularly offended show a young and lusty sultan cavorting in the harem and drinking goblets of wine, pursuits frowned upon by the Muslim faithful for whom the sultan had religious as well as temporal authority.

Producers of the series, which has drawn huge audiences and boosted sales of history books on the period, said they wove in imagined elements to the love story between Suleiman and his favorite slave concubine, and later wife, Hurrem, with the aim of presenting the characters as more human. But for many pious Turks, including Prime Minister Tayyip Erdogan, who leads a government with its roots in political Islam, the series is an insult to the nation’s forebears.” […]

Source : Reuters