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transwritted in any form or by any means, mechanical, photocopying or otherwise, without prior written permission of the author/s and the ICOC. S ome parts or paragraphs of this publication may be quoted for the purposes ofresearch or individual study only by citing the author/s and the ICOC. ISBN 978-9944-60-250-1 (Hard Copy) ISBN 978-9944-60-327-8 (Electronic) ICOC CALL CENTER Phone: (212) 444 O 486 Detailed information about the ICOC's publications can be obtained from the Department of Information and Document Management, Documentation Service. Phone : (212) 455 63 29 Fax :(212)5120641 E-mail : ito.yayin@ito.org.tr Web : www.ito.org.tr You can reach our publications in full format free through internet. DESIGNED, PRINTED BY G.M. ve Ticaret Tel: (212) 629 00 24-25 Faks: (212) 629 20 13 www.goldenmedya.com.tr Assoc. Prof. Hlya Assoc. Prof. Hlya Galatasaray University, Faculty of Communication, Department of Cinema, Manager of Media Studies Research and Application Center (MEDIAR). She does researches on film theories, sociology of cinema and TV, audience reception theories and gender studies. She has many scientific publications in fields such as cinema industry in Turkey, TV culture, representation of women in media and cinema. Besides her academic studies, who is active in cinema and TV fields, working in positions such as consultant and TV host, is engaged actively in the struggle against genderism. For more information: http://www.gsu.edu.tr 7 ...................................................................................................... 9 ................................. ll 7.2. Game shows ....................................................................................... 67 7.3. Women-targeted showson daytime TV ............................................. 69 7.4. News and Debate shows ..................................................................... 70 8. The main f n a n c i a l source of TV B roadeasting : Commercials and spansorship .................................................................................................... 73 9. Television viewing practices and audi en ce characteristics ........................... 83 10. Objectives and expectations in TV broadcasting ........................................ 91 Bibliography .................................................................................................... 103 Other ................................................................................................................ 106 occurrence of purchasing ,..,,.,.,,.. ... + ~ .... T has the strength o ur the journal named "The position of Film Industry in Turkey and Its Targets" which has been published before by Our Chamber will be the broadest studies of the sector. This study has been prepared in order to follow the changes in social, economical and cultural structure of Turkey and form the basis for the people who will do research about Turkish Television, specialists who will determine the cultural policy and foreign producers who want to do business especially with Turkish producers and develop the attempts in this respect. With regard to this, I thank to Associate Professor Hlya and her team who does this research named "Television Broadcasting in Turkey", w hi ch indi ca tes the development of Turkish television broadcasting from the beginning until taday and required to be evaluated together with cinema seetar which is a strategic industry and I wish it will be useful for our members and relevant persons and organizations. Dr. Cengiz ERS UN Secretary General Today Turkish TV series which have become an important element of, not only TV but also of cinema industry are one of the common values of society. These productions are exported more and more frequently to different countries and Turkey is considered to be similar to Brazil of a certain era in this context. TV series are not the only productions that are exported. Many original TV shows or game shows outlast their success in numerous countries from Italy to China. Chamber of Commerce who takes heedof key industries in our country contributes largely to the development and marketing of this field by supporting this m uc h needed study on TV broadcasting. W e would like to mention Dr. Toy Par and R.A. Ece Vitrinel of Galatasaray University Faculty of Communication for their intensive contribution and R.A. Kara for his support. W e would like to thank them and Ms. M ge zen, Mr. Zafer eler, Ms. Hatice Bakanlar who translated this study to English. This study which aims to present a general panorama and to share some of the existing literature and sources on the discussed subjects is descriptive by its definition. Certainly, it will be to conduct fresh and more extensive studies in this field to produce authentic datas. Assoc. Prof. Hlya UGUR TANRlVER were ._..._.,JIJ'-"" .... "''-' .... ~ ........ countries these technologies developed, TV broadcasts have a tardive start. attempts of broadcasting 953 University; absence of a transmitter, broadcasts were restrained public broadcasting was enabled by of no.210, Ankara, 1989. broadcasting It is possible to histarical " ~ u u . " " " 12 CHAMBER OF COMMERCE Similar to the BBC model that was used in the country as an example by the supporters and executives of this attempt, the first years of TV broadcasting in Turkey are defined by public broadcasting. The primal objective is to offer to the public the news with sound and image, educational and content via this new technology. The very essence of this approach which prioritizes public service is the execution of TV broadcasts by an autonomous institution in a politically impartial manner. However, as seen on the table below which show s the important mo men ts in Turkish television history, Turkish Radio and Television Corporation' s (TRT) principle of autonomy was abrogated in 1971 during another military intervention, preserving only the principle of impartiality. The 70s, the decade in which audiences really got acquainted with television, represent also a one-channel system period producing content in accordance with state monopoly. Although the broadcasting hours had increased, seven days a week broadcast had started and reaching all parts of Turkey was planned; a widespread access could not be maintained due to technical and socio-economic problems. Nevertheless, when analyzed sociologically, it is observed that, even those years when not every household passessed a TV, nearly everyone had already become aTV viewer, and that the seeds of "TV culture" which would take shape 40 years later, were planted at those times. The interest of public in this medium even in its first years can be explained by the attachment of the public to preceding visual culture products, especially to cinema. Asa matter of fact, the particular intere st of viewers in TV dramas is a strong indication of the transitivity between these two mediums and of the transformatian of TV series to an independent "social fact" today. In its first years, TV has also been an instmment of intensive socialization. In those times when the level of equipment was poor at households, it was a common practice to visit families who had TV on days that important shows were on and to watch the show question with them. "Tele-visiting" has triggered about the TV shows, arguments that were linked to subjects discussed on TV and also has TURKISH TELEVISION BROADCASTING 2011 an era limitations on name of public broadcasting caused serious problems 4 CHAMBER OF COMMERCE accordance with the ideology: belly dancing, "arabesque" 3 which was the most popular local music genre, some of the popular comedy films which were considered inappropriate because of the slang expressions they have contained although were applauded during their release in theatres, were among the programs that were banned. As will be seen in the c hapter bel o w, during the reign of Ozal
which processed towards a normalization period after the coup
d' etats and towards the implementation of liberal economy, legal regulations on TV broadcasting area have commenced. During this period in which state monopoly stili persisted, TRT has first started broadcasting on a second channel, and then on a third one which focused on local broadcasting targeting South Eastem regions. However, it was obvious that the expectations of the viewers could not be fulfilled by TRT. Turkey's first private (commercial) TV station Magic Box, although illegal, has started its broadcasts from abroad in by the help of satellite technology. This new channel, which was not bound by the existing legal structure in the country, became the hotspot of audi en ce s with the diversified altematives of it had offered. After 30 years of state monopoly, TV has formed one of the privileged areas for private entrepreneurs. So m uc h that, Turkey w as introduced to O different new channels within a few years in 90's; the competition between the TV channels has nourished the search for new formats and contents and also has accelerated the growth of advertising industry and even of the communication industry in general. This actual (de facto) situation has generated the need for legal regulations in TV For a sociological study on arabesque music cf. Meral zbek, "Arabesk Culture: A Case of Modemization and Popular Identity", in Rethinking Modernity and National Identity in Turkey, Sibel and Kasaba (eds.), Chapter 12, University of Michigan Press, 1997. http://library.northsouth.edu/Upload/Rethinking%20Modemity.pdf, 01.08.2011 Turgut zal was PrimeMinister of Turkey between 1983-1989 and eighth President of Turkey (1989-1993). He is known by his liberal economic views and by paving the way for the privatization of state enterprises. area. 1964 1981 1986 1989 1992 1994 1992 1993 TURKISH TELEVISION BROADCASTING 2011 15 Radio and TV station started its First broadcast in color was actne"ired New TRT Law No. 2954 was acc:ep1cea. TRT 2 started its broadcasts. Cable TV NewYear's TRT 3 and first channel to local viewers TRT GAP their broadcasts. on on The Box started TAM TURKEY the audience measurement m eter that abolished the state mcmopoJlY over radio and .TV Broadcasts", 1996 First thematic news TV agreement 1 8 CHAMBER OF COMMERCE Montly Time Turkish Population Spent on Cultural Activities (Hrs) Total Ma le Female 87,486,588,4 0,70,70,7 1,31,11,5 0,60,60,5 1,41,41,4 7,7 9 6,4 0,60,50,7 0,30,20,4 Cine ma Radio Television Video Listening to Written Music and Other and media and performing cultural recording books arts shows field s mu sic Source: TURKSTAT (2006), http://www.tuik.gov.tr Today Turkey is one of those countries that TV broadcasting is roaring terms of number of broadcasters and diversity. All with different technical facilities, sorne with a nationwide and others with local network access, the total number of TV channels is 4 7 5. Tab le 2 - The Number of TV B roadcasters Features Number National 24 Region al 15 Lo cal 210 Cable 78 Sa tellite 148 TOTAL 475 Source: http://www.rtuk.gov.tr TURKISH TELEVISION BROADCASTING 2011 19 20 S T A N B U L CHAMBER OF COMMERCE TV reaches 98% of the Turkish population. In this diversified broadcasting system where the viewers can choose the channels they like according to their tastes and needs, there is a very strong competition between the TV channels, as will be discussed in the relative chapter. W ith the emergence of new mediums in the past years, the advertisers are now obliged to allocate their advertising budgets and this situation pushes TV stations, like everywhere else in the world, to try new ways in order to attract the attention of the audiences. High viewing shares are the primary trump that TV channels use to persuade advertisers. In Turkey, TV viewing shares are being measured by an electronic "people meter" system since the 1990s, in other words since the first years that commercial TV channels started broadcasting and increased the total number of TV stationsin the country. Until2010, the scrutiny that this system required is executed by Nielsen TAM Turkey (Nielsen Television Audi en ce Measurement Turkey). This system imposes a syndicated research model which works with nearly 3.636 "people meters" in 2500 households all over Turkey and makes projections about the Turkish population over 5 years of age based on viewers' TV viewing habits. The system is financed by the member institutions and it puts the detailed data into the service of financers. This measurement system is criticized for i ts various aspects such as i ts application method ( technical difficulties, the criteria of family selection), segmentation of some categories ( especially socio-economic segments) that are us ed to present the results and ethical inquiries ( financially aiding the participants un der the name of gifts) 7 . As a result of these criticisms, TIAK. 8 (Television Audience Surveys Corporation), which was initially founded under the name of "Television Viewing and Re search Committee" in 1992 by advertisement corporations and advertisers, has decided to call for tenders in 201 O for this measurement in These kinds of critics are not specific to Turkey only. For a general presentation ofmeasurement methods anda study on European examples c. Jean-Michel Brignier vd., Mesurer l'audience des medias, Ed. Dunod, Paris, 2002. http:/ /www. tiak. com. tr TURKISH TELEVISION BROADCASTING 2011 2 measurements 51.2 than 100% s ince each can more than one answer to each 22 CHAMBER OF COMMERCE These data gathered by face-to-face survey methodology is by the data obtained via people meter ( electronic audience measurement) system. The difference between the percentages stems from the difference between the measurement/ survey methods; but the ranking among the most popular channels stays the same, as can be seenin the table below. Tab le 4 -Most popular TV channels according to viewing shares Channel % D 14.0 SHOW TV 10.6 ATV 9.9 STAR 8.6 FOX 8.1 STV 5.7 Source: Mindshare, 2010 (2009 data) The RTSC research asked the subjects which channels they would prefer if they had to watch just one channel. The result shows that the two ranks do not change, but it is interesting that TRT channels rank third. 10 10 It is a methodologically controversial interpretation to reduce numerous TR T channels to one single unit and compare it with other singular channels . TURKISH TELEVISION BROADCASTING 2011 5 you were would Channel 17.3 Source TV RTSC 24 CHAMBER OF COMMERCE gain the terrestrial digital TV multiplex capacity allowance right 11 in the call ( according to the ir rank in the call and the ir analogue channel capacity and as long as they pay the annual frequency fees) will als o be given the right to analogue broadcast along with digital broadcast for two years at most. However, following two year period after the allowance analogue terrestrial TV broadcasts are going to be abrogated all over the country. That is to say that by 2015, the only terrestrial broadcasting format in Turkey will be digital (DVB- T). Narroweasting Narroweasting in Turkey began in 1988 with the foundation of Kablo TV, an affiliated corporation ofTurk Telekom., Kablo TV was detached from Turk Telekom after the decision to privatize the latter, and became an of Trksat A.S. Trksat Kablo TV fumish services in cities and has about 1 million 275 thousand subscribers. 12 The number of TV channels which broadcast solely via cable TV is 78. 13 The transition period of narroweasting to digital began with the digital broadcasting Turksat started in 2008 in 7 cities with 8 channels, first ones being TRT channels. There are now TV channels, of them being HD and 15 of them being SD, on this platform called Telednya which uses the infrastructure of Kablo TV that does not require a dish antenna. 14 ll 12 13 14 According to the Ciause 3rd of RTSC Law No. 6112, "multiplex", signifies the method used to unify numerous terrestnal broadcasting services in one or more signals; "multiplex capacity" is the capacity within the multiplex that is reserved for the transmission of a digital broadcast for VHF, UHF or FM radio frequency bands, terrestrial TV or radio broadcasts. Ceren Szeri, Zeynep Gney, ibid. Declaration ofRTSC President Prof. Dr. Davut Dursun: http://www.rtuk.org.tr/sayfalar/IcerikGoster.aspx?icerik_id=5605f266-84ca-4328-90db- 2b53ab31515b Trksat, http:/ /www. turksat.com.tr/content/view/122/2 14/ 15 16 17 18 TURKISH TELEVISION BROADCASTING 2011 25 T.C. Devlet Planlama Dokuzuncu "Bilgi ve Teknolojileri zel ihtisas Komisyonu Alt Komisyon Raporu", Ankara 2007 www.dpt.gov.tr/Doc0bjects/Download/3201/oik696.pdf Declaration ofRTSC President Prof. Dr. Davut Dursun: 2b53ab31515b 6c3d295ca079 26 CHAMBER OF COMMERCE broadcasting has decreased by half while the number of households which prefer digital is multiplied by 3,5. 19 Tablo 6 - Broadcast receiving forms in households (% 20 ) 2005 2006 2007 2008 2009 2010 Terrestdal 77 63 55 47 42 36 Cable ll lO 8 9 8 8 21 40 51 60 68 72 Source: Nielsen, TV Annual 201 O 2.2.4. Internet Protocol TV (IPTV) 21 The ground work Internet based TV broadcasting started in 2008 and after a trial period of years, TTNET, the internet affiliation of Trk Telekom launched Turkey' s first and only IPTV platform called IPTivibu in three metropolis in September Even though the platform did not do any advertising, it has reached 5.000 subscribers by the end of In February 20 it changed i ts name to Tivibu Ev (Tivibu Home) and a major advertising campaign. Its target is to reach over 20 thousand subscribers by the end 1. The two prerequisites that enables the purchase one of three subscription packages of Tivibu Ev, which offers a total of channels 53 of them being 19 20 21 ''Nielsen TV 2010- Hanelerde Sahiplik ve Alma http:// smgconnected.com/tv-yilligi-201 O-hanelerde-sahiplik-ve-yayin -alma-sekilleri The total percentage is over 100%, s ince the transmission method within a household can vary (for example cable and terrestrial at the same time). The informationusedin this seetion is taken from Acar, "Trkiye IPTV 2010 Raporu", March 2011. To read the report: http://iptv.org.tr/iptv/?page_id=264 TURKISH TELEVISION BROADCASTING 20 ll 2 7 30 S T A N B U L CHAMBER OF COMMERCE in every two years. The Supreme Council members shall elect a president and a vice-president among i ts members. The term of Presideney is two years. " 22 The main function of RTSC is to allocate channels and frequency bands, to verify the compliance of broadcasts with the provisions of the law and to decide on the relevant sanctions in cases of violation. R TSC is entitled to make the decisions in many vital fields for today' s b roadeasting such as the regulation of advertising breaks, prevention of capital concentration of ownership and conducting public opinion surveys in order to collect the necessary data of broadcasting. The experience gained by the practices in the past years, the need to make a change in the law regulating the TV broadcasts arose and The Law on the Establishment Radio and TV Enterprises and Their Broadcasts No. 6112 was adopted on F ebruary 15th, 201 1 and cam e in to effect in March 20 ll. The most important changes that this law brings can be summarized up as the following 23 : 22 23 The share of foreign capital in one private radio or television enterprise is increased from 25% to 50%. The advertising of over the counter medicines is allowed. The TV stations are allowed to broadcast 12 minutes of advertising at most for each one hour broadcast. This way the channels can give advertising breaks every 20 minutes can broadcast 12 of advertising total. This period of 12 minutes in an hour's broadcast can be used as wished. So channels, instead of broadcasting advertising every 20 min u tes as it was foreseen by the form er law, they can broadcast it whenever they like as long as it does not exceed the 15% of the daily broadcast. http:/ /www .rtuk. gov. tr "Yeni RTK Kanunu Neler Getiriyor?", 16.02.2011, http://www.ntvmsnbc.com TURKISH TELEVISION BROADCASTING 2011 31 34 CHAMBER OF COMMERCE Today, TRT owns channels, each one of them being different than the other in terms of content, language, co verage area and target audi en ce (so me of the thematic channels contents are broadcast on the same channel altemately). Among the se channels, the mostly mentioned is TR T 6 (TR T "Shesh"), the first TV channel in Turkey to broadcast in Kurdish which was launched on J anuary 1 st, 2009. The legal infrastructure in Turkey where official language is Turkish according to the Constitution has prevented broadcasts in any other language until today. This situation caused the exclusion of the communities, especially Kurds, who are the citizens of Turkish Republic but not ethnically Turkish and who would like to use their native language and make it visible, from the broadcasting field. It is known Kurds who live in Eastem and South Eastem parts of the country watch Kurdish TV channels that broadcast via satellite from abroad. It is possible to access via satellite to channels broadcasting in different dialects of Kurdish and reflecting different political tendencies. Establishing a public TV channel to broadcast solely in Kurdish came up as a part of "democratic reforms" which w ere initiated in 2009 by the govemment of the period in order to discuss the identity demands of different ethnical, cultural, religious ete. groups and decide on the necessary policies in this field. This attempt which has important symbolic denotations such as improving intercultural communication and recognizing diverse identities has brought forth the regulation of the law on radio and TV that prohibits broadcasts in languages other than the official language. The new law adopted in 20 allows broadcasts in other language s, but includes the phrase "B roadeasting in Turkish is TR T 6 is not the only TRT channel to broadcast in a language other than Turkish. Opening out to different language s continued to fulfill the needs of the citizens in domestic broadcasts and also to spread the voice of Turkey to foreign countries. For this purpose, first TRT Avaz was launched in March, 2 st, 2009 to address Central Asia, Caucasians and the Balkans, and offered content (some of them also being produced in these countries) in Azerbaijani, and Uzbek. This is followed by the launch of TRT Arabic (TRT el TURKISH TELEVISION BROADCASTING 2011 3 5 News 4 1990 2008: TRT 36 S T A N B U L CHAMBER OF COMMERCE TRT TRT Arabic (TR Tel Turkiye) TRTS Anatolia 2009 2009 ( under the 2010 2010 2011 Documentary Music genres) Accessibi e from all around the world General Arabic Sports, documentary, cinema General Altemate contents offered by local channels TRT has recently made an important leap with the diversity of the channels it offers and its thematic approach that recognizes the different tastes and needs of the viewers. Besides, by signing a cooperation agreement with Euronews, which is one of the leading news channels in Europe and in all over the world, TR T has become one of the biggest partners of Euronews, thus Euronews started i ts broadcasts in Turkish which became the 9th language of the channel, in January 2010. TURKISH TELEVISION BROADCASTING 2011 3 7 ven though if thematization is considered as a so the programs can reach the target audience, no one can deny the social cultural advantages the generalist television 25 . structure of the general interest channels, that we are going to analyse in details further down, represents as such a fairly important matter Turkey, as watching television constitutes a very important way of socialization and establishing interpersonal communication. As we pointed it out a previous research we on women in Turkey and television culture, the schedule of those generalist VJ.H)J,AUJl'-'.1.0 a to 'timetab le' at during day-time 26 . On the other hand, as local production amongst the television ,..,..,.,,.. .. h- 1 an has to "" ... possibility to compete productions were dominant in this market. the years of the television, when the had not enough knowledge matter, were no private companies able to produce formats and contents, the need local production was by showing movies or productions. Nowadays, deal various formats. to a specialized staff joining industry F-,.L'U''-/ ...... .......... , ...... to exchange TV 25 Une theorie critique de la television, Flammarion, 26 ... ,,...,,.,.""'n Kltr ve in 2003. 40 CHAMBER OF COMMERCE televisions 27 shows that there quite a variety of the programs. Although even if those channels are as "generalist", we can see that some kinds of programs have become a driving force of the television, and that there is e trend to thematization of these channels, ev en if not said so. Our analysis on the program structure of six national broadcasting TV channels shows out the following : 27 5.1. Kanal D TV Series/ Dram as 57% Other Garne Show Debate 4% Mu sic/ Enterta i n m e nt/ Celebrity News 10% Cu ltural/ Educational 6% The analysis is realized during the week of April, 30 - May, 6, 2011 on six national broadcasting generalist TV channels. The channels were choosen in reference to criteria as the general rating data, the structure of ownership, the quality of being a public TV channel. Analyzed channels are: KANAL D, ATV, SHOW TV, FOX, TRT 1 and STV. TURKISH TELEVISION BROADCASTING 2011 41 Kanal D is the main TV channel of the Dogan Media Group. W e can notice that i ts programs are mainly based on tv series and dramas. The total of news, debates, cultural and educational programs represents about 115 of the whole program. A very big part of the series and dramas is constituted by local productions and their rebroadcastings. 5.2. ATV other Show ATV is a competitor to Kanal D, as far as the structure of the programs and the type of productions it presents 28 . One can notice that % of the programs are series or dramas. If the number of local series broadcasted on prime-time in ATV is not so different of its competitors (Kanal D, SHOW TV, ete.), the difference of their share in the program structure comes from several rebroadcasts of these series, and a more important place accorded by this channel to broadcast theatre 28 For a detailed study on this subject cf. Hlya et al., Trkiye 'de Film Endstrisinin Konumu ve Hedefleri, Ticaret 2011, p. 47. 42 CHAMBER OF COMMERCE 5.3. SHOW TV News
TV Series/ Dram as 30% Cu ltural/ Educational Music/ Enterta i n me nt/ Celebrity News 7% Debate 3% During the week we worked on the Cukurova Group's SHOW TV channel, we noticed that the most important production was television game shows. One can see that dramas ( especially local series) occupy much le ss time (30%) than in ATV or Kanal D, where they are a driving force. News, debates and cultural and educational programs represent only 15% of the who le program. 5.4. FOX TV 1% TURKISH TELEVISION BROADCASTING 2011 43 Game Show 11% lV Reality 12% Other 2% F ox TV has all o wed n early half of i ts programs ( 44%) to sene s and dramas, but we have to underiine that it includes daily series which are not so frequent in Turkey. Moreover, Fox TV has a special position canceming the new s and de bates, as 20o/o of the schedule include new s bulletins and if w e add to this the debates almost one third of the programs are of this category. 44 CHAMBER OF COMMERCE 5.5. TRT 1 Game Show Documentary/ 6% Reportage 9% ..... Otherl 2% TV series/ Dram as 57% TV Reality Music/ Entertainment/ Celebrity News 1% Cultural/ W e can see that es and dramas rank first in TR T 1, w hi ch is the generalist channel of public television, as well as with i ts competitors ATV, Kanal D and FOX. In addition to that, news, debates, cultural and educational programs altogether represent 20% of the who le program. Another interesting point is that 'documentary/reportage' programs which are nearly absent in liberal commercial channels represent 9% of the program structure. 5.6. SAMANYOLU TV Game Show_...../"' 1% TURKISH TELEVISION BROADCASTING 2011 45 Documentary/ eportage 5% - ~ - O t h e r TV Series/ Dram as 61% 5% STV is a commercial channel, but also bears politically speaking conservative-islamic characteristics. The big part this channel allows to series and dramas is worth of interest. But we have to outline that the series and dramas broadcasted by this channel are very different from the ones of Kanal D, Show TV or FOX. Next to a very small number of classical series, the emphasis is on dramas with independent episodes, didactical and mostly about moral education and/or religious information. Moreover, an important part of the 'series-dramas' category is in fact constituted of 'television movies', which are quite rare in Turkey. Ifwe don't take into account the 'reality shows' which represent 12% of the programs, the other categories are represented with the same (and low) percentage. One can also notice that on this channel, music, entertainment or show programs don't take place in the same way than it does on other public or commercial generalist channels. 46 CHAMBER OF COMMERCE As one can see on the comparative graphs, dramas are clearly roling all the TV channels except one. Together with this, we observe a trend to specialization on different TV formats. SHOW TV, especially since a few years, has the leadership as far as television game shows are concemed. In this matter, the part of some imported programs like 'Fear Factor', 'Survivor', 'Wipe out' which are intemationally popular formats has to be noticed. The most important difference of the public channel (TRT 1) from the others is, apart from the dominant position of dramas, the fact that the different program categories are almost equally represented. The fact that TR T 1 has the largest part of documentary/reportage and cultural-educational programs obviously shows that it works inaccordance with this channel's mission of obeying to the principles of public broadcasting. W e can als o notice that three of the commercial and liberal channels that were analyzed had nearly neither documentary-reportage nor any cultural-educational program. 7000 6000 5000 4000 3000 2000 1000 o Time Allocated to Different Formats by TV Channels (minutes) Kanal D Show TV FoxTV TURKISH TELEVISION BROADCASTING 2011 4 7 Time Allocated to Different Formats by TV Channels (minutes) STV ..
Other L
FoxTV Culturai/fducationai ete. TRT1
Game Show - Show TV N Reali ty
Debate Kanal D
! ATV
- - - -
- TV Series/Dramas o 1000 2000 3000 4000 5000 6000 7000 N owadays in Turkey, the lo cal series occupy a special place in the drama category which represents a driving force for the generalist channels. Consequently, more information about these productions is necessary to understand today's Turkish television broadcasting. to 29 In this Turkish 'de Film Endstrisinin 30 50 CHAMBER OF COMMERCE sa w the place of television in their lives increasing very fast. In accordance with the interest shown by the audience and the results of surveys, the production of local series has increased more and more around the mid-90's. From this moment on, the Turkish audi en ce of television left nearly completely the foreign series daiming for "universality" and turned to local series. To watch local series has become the entertainment and recreation of nearly every evening after diner time for the majority of the population. In all the researches we have been ab le to from 1998 until now, the number of local series has regularly increased. Even if sametimes some other formats have done a success (such as TV game or reality shows, like the Turkish adaptation of Taxi Orange) or even if sametimes it show ed some moments of stagnation, those never lasted long. .. Ql .c 60 so 40 E 30 :s z 20 10 o Average Number of TV Series Broadcast Weekly 1998 2000 2002 2004 2006 2008 2010 There aren't any sources in Turkey on the annual dispersal of broadcast TV series. The average numbers shown on this graphic are the results of our personal academic researches that we have been conducting since 1996. TURKISH TELEVISION BROADCASTING 2011 5 52 CHAMBER OF COMMERCE Time (Minute) Number 68-80 4 81-90 10 91-100 12 101-113 10 Total number of TV series 36 Duration of Ep isodes ( minute) 68-80 81-90 91-100 101-113 The graphic includes solely series broadcast on Kanal D, ATV, Fox, Star and SHOW. If w e consider the top four of those series, the proportion of the long ones shows a big increase, while the ones below 80 minutes do not even appear in it. On the other hand, the episodes are rebroadcasted several times in the same week or in day time or anather evening, which result is that the share of the series in to the channel' s program structure is very high. So, as w e previously said about the schedules, some channels although they are supposedly channels are close to be thematic channel as the now nearly only broadcast series/ dramas. TURKISH TELEVISION BROADCASTING 2011 31 Awards", 87-90. 54 CHAMBER OF COMMERCE Cbannels Number KANALD 10 ATV 10 FOX 9 STAR 5 TR Tl 5 SHOW 4 STV 4 Total 47 Dispersal of TV Series according to Channels TV series broadcast the week ofDecember 13th-19th on national TV channels The competition between Kanal D and ATV is not only a matter of number of series, but also with the rating scores. In the audience measurement results of December 2010, most of the four leading series belonged to these two channels. 32 33 34 one it is TURKISH TELEVISION BROADCASTING 20 ll 5 5 to say 56 S T A N B U L CHAMBER OF COMMERCE "genre" characteristics are stable and some others have disappeared or have emerged according to changes and trends. About the genre characteristics, comedies, melodramas and detective series are the main categories, as well as it is thecasefor the movies. W e are giving bel o w the distribution of the 4 7 series broadcasted between December, 13th to 19th 2010, according to the research we conducted on the mo vi e industry in Turkey. Dispersal of TV Series according to Genres COMEDY 21% D W e must underiine that s ome series, present more than one genre characteristics, combining, for example, elements of a comedy and those of thriller in the same production. This characteristic appears in many series broadcasted in 2010. However, in any case, it is very obvious as it appears in this table that drama is the main genre. Moreover, the most favourite series are the ones bearing the characteristics of the traditional Turkish movie and remembering the melodramas of Yesilcam in the 60's. Nearly one series out of two is a TURKISH TELEVISION BROADCASTING 20 5 7 drama/melodrama. Comedy and increasing in the last years the detective/adventure genres are just following the dramas. The other genres only showed periodic coming out. For instance, some fantastic movies were made especially for children towards the end of the 2000s. They were appreciated for a certain time, but then the audience showed no interest any more. W e can also mention so me historical series made by TR T and broadcasted by the channel at some periods of time it judged important. Since 2005, the commercial channels started producing some historical series as well. At the beginning, there w ere productions focused on recent history ( especially on the military coup period), then some productions about the last years of the Ottoman Empire and the Turkish W ar of Independence reached high rating scores, but this situation didn't last. Historical series came up again with the series on the era of Kanuni Sultan Sleyman and Hurrem Sultan called 'Muhtesem Yuzyil' ("The Century"). This series started to be broadcasted in 20 and w as followed with deep intere st. This series' success triggered other channels to 'buy' this series at high prices and to make other series taking place during the Ottoman Empire with the same kind of subject. 7 6 5 4 3 2 1 o Dispersion of TV Series Genres according to Channels KANAL ATV FOX STAR TRT 1 SHOW STV D DRAMA COMEDY THRILLER/ACTION/WAR TEEN 58 S T A N B U L CHAMBER OF COMMERCE The distribution of different genres shows the efforts to be different because of the competition of the channels. For instance, ATV, Kanal D, FOX and SHOW TV which are the most important in terms of number of series give much more importance to dramas. FOX and Kanal D broadcast some teen series bearing also melodramatic characteristics, which give those channels a 'drama identity'. However, another important point is that TRT is almost giving the same importance to nearly all genres of series. When one considers the distribution of the themes in the series, it becomes obvious that love and other types of relationships stand in the farefront ; this situation overlaps the fact that drama/melodrama is the most frequent genre. The second theme is "stories of ordinary people" : in fact, that kind of themes com es out from the 'realistic' characters of Turkish series and gives the audience the possibility to identify with heroes. This theme mles in series showing families and neighbourhood, which are very important in our history of series. Thematic Dispersal of TV Series WAR/ TERRORISM\ 11% ORDINARY PEOPLE 38% DEEP STATE/ MAFIA 4% When studying the series broadcasted in 201 O' s season, one can see that Istanbul is the most important place ch o sen for location as 'the world of series'. 57% of the broadcasted series take place in Istanbul. Other cities have been 35 36 37 TURKISH TELEVISION BROADCASTING 2011 energy The contradiction between , "urban-rural", "modem-traditionnal" was the center of, not melodramas but also of comedies. Situations related to these kinds of contradictions continue to constitute the main element '-'HVUF,'"""' "Le modele de la novela bresilienne", in INA, Ocak 2007, s. 49-53. 60 CHAMBER OF COMMERCE In cancem to the storytelling form in general, the type of series with a clean cut ending at each episode does not exist. The importance in Turkey is given to serials, that is to say that one needs to see all the episodes to understand the story and the real structure of facts. Consequently, one will be curious to see the next episode, so that channels are sure of the of the audience. But w e have to take separately the sub-category of sit-com : because of i ts general content and format characteristics, every sit-com episode has its closure. Even detective series use one main story requiring as every episode itself relatively marks the end of one shorter story/intrigue. An other comman characteristic of those series is the use of sh ort stories in relation with the main one, the existence of many stories together and the interweaving of many events. This is the reason why missing even only one episode makes nearly impossible to understand the main story (as well as the smail on es). As a matter of fact, the tradition of remembering so me of the important sequences of the last episode is now well established and these fragments reached now 30-35 minutes, nearly representing the length of a normal series. This is the reason why in the right comer of the screen it now writesunder the title of the series "summary". In consequence, when this part en ds and the original episode starts, it write s at the same place "new episode", so that the audience is informed. When we analyse the characters, connected with the requirements of the format and storytelling and ev en if in so me series one character looms large (for instance Ezel, Polat Alemdar, Behzat C. in the 2010 season), we don't quite see one major unique-dominant character ruling the main story. In other words, the Turkish series' structure is composed of multiple characters and the major effect on the narrative structure is that it gives the possibility of combining many events and especially to create minor short stories. Combining many characters and events has a strong connection with the audience. As Morlleski pointed out, series are loved because the audience can identify itself to the characters of the series. In such a case, the fact that the channels target a large audience that the series have such nature. It TURKISH TELEVISION BROADCASTING 2011 s co res 62 CHAMBER OF COMMERCE language, due to the increasing of the audiences' "TV-literacy" 38 and critical approaches. In Turkish series, families are the first or one of the first reasons why the individuals are "healthy". Sameone o w es to his family to be a good person and a good citizen. In the "classical" family series, the family finds out a solution to the smallest problem, always with solidarity and love surrounding. It' s always the only reliable reference. Of course, the hidden or the connotative meaning of this fact is that 'the one who leaves the flock, that is to say the family, will be taken away by the wolf. In series which focus on adventure and action, professional life as well as in relationships a little bit of the "mafia type', the "good" hero finds peace of mind and happiness in his family. On the contrary, the "real" bad one s have no "family" or are very far from true traditional family values and relationships. In the last period of time, we can see a change related to the family : there are many characters that are divorced or divorcing. This can be explained as a proof that divorce as a social phenomenon is part of the atmesphere of the series, even if most of the divorced people are bad ones, "degenerate" or they end starting a new family. On the other hand, sexual intercourse outside marriage which were previously identified with bad people only ("Kk ve Ceza", "Yaprak Dkm" ete .. ) are now used more frequently, although they generally lead to bad consequences. also see that women for years were with the family, even if they had any professional and public relations were shown mo re for the ir lives inside the family, have started the se last years to open up to the outside world. It's interesting to see the increasing number of women 38 For further information about this "audience typology" cf. Hlya La reproduction de la division sexuelle du travail a travers !es pratiques culturelles : images de femmes dans !es feuilletons de teZevisian turque et leur lecture dans le pays et dans l'immigration, These de Doctorat non publiee,Universite de Montpellier III, Dep. de Sociologie, 2003, Directeur: Prof. Dr. Mohand Khellil. TURKISH TELEVISION BROADCASTING 2011 64 CHAMBER OF COMMERCE Unlike some of their equivalents in Europe, these US originated series are subtitled, which above all requires viewers to have a certain educational level. Actually, media planners and advertisers attach importance to such productions appealing to young, urban and modem populations inelin ed to W e stern culture due to their narratian style, sense of humor and textual implications. In fact, the se series are not watched "the most", but followed by a target group with a net profile. Some adaptations of foreign have from time to time been quite popular. (Nunny) and Hayat" (The Jeffersons) are just to name two of these series started to be transmitted on national broadcasting channels in 2000s. Sametimes we can also see productions covering some elements from foreign series or very clearly "inspired" by them without a copyright agreement. However, such productions, which last for months and even years, somehow end up entirely "local" series unrelated to their source of inspiration although originally foreseen in parallel with the preferences and likes of viewers. Anather type of adaptation is "sitcom". Canada originated "Bir Bir Erkek" (Un gars et une fille) is the most successful example of such adaptation. Legally adapted, "Bir Bir Erkek" is broadcast on an encrypted digital platform. are 39 i b id., ibid., 66 CHAMBER OF COMMERCE producing original formats. Therefore, they preferred "reality shows" that broadcast judicial cases li ve and in which presenters follow up and comment on the cases as they happen. Besides, "investigator joumalism"- oriented programs using hidden camera shooting to disclose some problems were also produced. Jost these programs as follows: "the programs which tum research or joumalism into show" 40 . Of these programs, the most rooted ones stili exist with certain stylistic changes. In the early 2000s, an imported program format broadcast under the name of "Biri Bizi Gzetliyor" 41 drew considerable attention. Actually, the name of this program i ts elf, w hi ch means "Somebody is spying on us", started to be used as a new idiom in daily language to refer to situations in which people "are observed" openly or in seeret Based on the combination of the idea of competition with the broadcast of people not knowing each other in advance but starting to live in the same house on a nearly full time basis, this format was continued in different versions. Transmitting "raw images" of daily life, this format inspired a Turkey-specific format in 2004. Moreover, the personal relations of the participants or their lives in the aftermath of the program w ere discussed as serious "phenomena" in the broadcast season as these people underwent certain magazinish or judicial situations. The program "Gelinim Olur Musun?" meaning "Will you be my daughter-in-law?" was based on the importance attached to marriage by Turkish TV viewers and the relation and even conflict between mothers-in-law and daughters-in-law which has become a tradition. The "Gelinim Olur Musun?" format targets to get mothers participating in the program to choose the best spouse for their sons among the single women sitting for marriage. This format was even exported to several countries. In Italy, this program was nominated for Emmy Awards and its producers entered a law suit against a program called "Momma's Boy" started 40 41 For a definition of this term, cf. Franois Jost, Introduction a l'analyse de la television, Ellipses, Infocom, Paris, 1999, Chapter 5 and Chapter 9. The first version of this program, which was exported to several countries, broadcast in Turkey was in fact an adaptation of Austria originated "Taxi Orange". 42 43 44 TURKISH TELEVISION BROADCASTING 2011 w as "ABD 'Gelinim Olur Musun'u season, the program was called "Kim Yz Turkish currency . version of this program, cf. Yves sciences 68 CHAMBER OF COMMERCE In the 2000s, when shows were on the peak, competitions targeting to test endurance were also broadcast though of were highly criticized. For the show called "Dokun Bana" (Touch me) was highly criticized in terms of the health of and even penalized by RTUK (The Supreme Board of Radio and Television) due to its possible effects on viewers. In this program broadcast on SHOW TV in 2001, the competitors were supposed to touch acar for 70 hours. The winner would be the one who uninterruptedly touched the c ar the most. 45 The most popular of this type are foreign formats that have been broadcast for the last few years. With of their adaptations, they have turned into real shows and started competing with local TV series, which are undoubtedly the favorite programs of prime-time TV channels; though not continuously, they have sametimes achieved a great success (when the of competitions or their finals are broadcast ). Designed by a British TV producer in 1992 and broadcast on CBS in 2000 in the US, "Survivor" (initially called "The Last Survivor") was introduced to Turkish viewers by Kanal D in 2005. Transferred to SHOW TV one year later, the program divided the competing teams in two group s lik e "Turkey vs Greece", "Girls vs Boys", "Lions vs Canaries" (Galatasaray fans vs Fenerbahce fans) with the purpose of making viewers identify themselves with the US originated "Fear Factor" and "Wipe Out" with a similar format have aroused interest recently. Anather type of competition show that has popular Turkey so far and can be considered within the framework of talent or skill discovery programs is "cooking contests". Kitchen culture is an of our society. Based on this fact, these programs bring together the participants who are to cook different meals and eat together. In fact, such programs can be thought to be a new version of cooking programs combining talk shows with recipe "comers", which are a classical part of "day time broadcast" largely 45 "Dokun Bana Show'a Ceza Getirdi", http://arsiv.ntvmsnbc.com/news/109969.asp TURKISH TELEVISION BROADCASTING 2011 most 46 7 CHAMBER OF COMMERCE about negative effects. Serious sanctions have been imposed on the programs that have not taken measures to protect the women participating in the program, which thus caused tragic results. Another format which has aroused interest the most in the daytime broadcast in recent years is "marriage programs". In Turkey, where marriage is one of the most fundamental social values, any assistance or support provided to single people to enable them to find suitable spouses is considered to be a very important proof of solidarity. Besides, in these programs the people who want to get married teli their life stories. Thus, their content resembles that of dramas. In this sense, it is possible to say that these programs are the televised versions of whatis being experienced among neighbors and friends in real life. Commenting on these programs, the President of R TSC said "They fulfill a social function". Y et, w e cannot say that the se programs have no ad verse effects. S ome of the participants have committed erime s by taking advantage of the program ( e.g., some committed fraud or theft with the pretext of marriage; some attempted to carry out "white marriage" to obtain citizenship ). Besi des, women's groups fighting against sexismin the media eriticize these programs because most of the female participants want financial assurance (like properties) as a requirement from possible husbands and the TV just take this for granted. 7.4. News Debate Shows As we mentioned above, in addition to general TV channels which are quite popular among Turkish viewers, there are also thematic news channels whose number has been on the rise recently. Such channels have a certain viewer profile. The viewers of news and "reality-based" contents can also watch debate shows in which important agenda topics are brought to the tab le. TV programs with the quality of "forum" or open session in which political agenda is discussed by different parties became popular also on general TV channels in the 90s, when mixed broadcasting started. Though broadcast after TURKISH TELEVISION BROADCASTING 2011 71 47 7 4 CHAMBER OF COMMERCE When we take a look at the distribution of different w e see that television ranks the first by landslide 9 Distribution of advertising expenses among media M edi um Share.(o/o) Television 55.85 Press 26.08 Radio 2.87 Openair 6.98 Cine ma L26 Internet 6.97 Though printed media keep its share in the cake to a certain extent, the biggest change in the distribution of can be seen on the Internet. The more the Internet is accessed and used, the bigger its share in the advertising cake is. On television, the biggest share belongs to national ground broadcasting channels; however, regional or local channels get nearly no share,while satellite and wired channels can benefit from only 10% of TV ads. 49 49 Ceren Szeri, Zeynep Gney, ibid., p.54. TURKISH TELEVISION BROADCASTING 2011 7 5 D is persal of TV Advertising Revenue according to Licence Type National TV Regional TV Cable TV Satellite TV Cable TV Satellite TV Regional and Local TV 1% 6% 4% The distribution of advertising ineome among channels is in paraUel with the ratings 50 . In other words, TV companies' primary target is now to have the f r s t ranks in the rating list through assertive productions, which has from time to time led the competition environment called "wars of rating" to appear. Y et, the distribution of advertising ineome does not match with the duration of ads. As it can be seen in the table below, the channels that are at the last ranks of rating lists or do not participate to the audience measurement system allocate more time to commercials. It is possible to infer that even the companies which are commercially less assertive prefer TV as it is the most popular medium for advertisements. 50 i b id. 7 6 CHAMBER OF COMMERCE 1 O - TV series with the longest ad TVCHANNELS ATV NTV Kanal 7 Fox Show TV D S tar CNNTur k CNBC-e Habertrk TGRTHaber NTV Flash Dizimax Cine5 TV8 Euro D 6:920227 6.795.448 6.193.603 5.976.729 5.965.081 5.878.871 5.154.368 5.102.165 4.802.740 4.763.492 4.500.114 4.427.313 4.414.983 4.142.544 Source: The Nielsen Company (2010) cited by C.Szeri, Z.Gney, ibid., s.56 In target which are so terminology) is a subject 51 Excluding telemarketing and social advertisements. TURKISH TELEVISTN BROADCASTING 2011 77 mathematical media planning. It is actually a sociological, cultural and communicative topic. The advertising pollution graphic below highlights another dimension of this subject. TV Advertising Polintion (Adults) 1200
1000 1 - 2005 soo
2006 2007 600 2008 400 - 2009 2010 200 o Source: NIELSEN TAM TURKEY, Mindshare This advertising pollution graph shows the number of advertisements which adults are exposed to ina week in Turkey. The pollution decreases in the first months of the year and in summer. However, since the month of Ramadan collides with summer in an increase in the number of ads is expected. Because advertisers are busy with preparing their annual strategies in January- February, there are generally less ads during this period. Yet, it is seen that this trend changed in 20 O. In brief, it can be said that advertising pollution is high in Turkey and it will further increase in the years ahead. 52 "Reception studies", w hi ch w ere started in communication 920 and gained impetus after the 970s, po int out that "exposure" to a one 52 Hlya vd., ibid., 2011, p. 63. 78 CHAMBER OF COMMERCE single text does not bring about one single form of "reception". On the contrary, the same text can be perceived in various ways based on peoples' individual and co lleeti ve life stories and experiences 53 . When it comes to TV ads, it should be noted that the electronic rating system measures not the act of "watching" but just the TV channel w hi ch is on. As a matter of fact, a field study we have carried out for another research reveals that the viewers of TV series, namely the most favorite TV programs of advertisers, watch the ads very little. The advertisers, however, assume that ads constitute the way through which viewers "reach" them 54 . 53 54 Vi.ewers' Tendancy to Watch Advertisements on Advertising Breaks Always watches Usually watches Often watches Never watches There are many sources on "communication theories". For example see. Annand Mattelart ve Michele Mattelart, Tarihi, Cem 1998. Considered as a "founding text" in reception theories Stuart Hall, "Encoding, decoding", inCulture, Media, Language, Hutchinson, Stuart Hall et al. (eds.), Londres, 1985. For a comprehensive scientific study on viewers and reception, see. Brigitte Le Grignou, Du cte du public. Usages et reception de la television, Ed.Economica, coll.Etudes Politiques, Paris, 2003. Hlya et al., ibid., 2011, p. 177-179. TURKISH TELEVISION BROADCASTING 2011 79 Asked on what they do during the commercials, one out of 4 viewers says that when ads appear, they leave the room where they watch TV and approximately 1 out of 3 people passes to anather series broadcast on anather channel. 5% Activities During Advertising Breaks 1% Changes the channel, watches anather TV series Changes the channel, watches anather program Zaps between the channels Stays in the room, busies with other activities Chats w ith the other viewers in the room {family, spouse, friends ... ) Leaves the roomtorun same errands (make tea, hang laundry ... ) nthPr As it can be seen in our study detailing this subject, 41% of women, who are one of the most fundamental target groups of advertisers, leave the room when ads are being broadcast. Aware of this situation, advertisers are gradually modifying the ir strategies. Turkish advertising sector is very successful in terms of creativity, which can also be understood from many awards granted to Turkish advertisers in several professional milieus at international level in addition to the importance attached by the world's biggest advertising agencies to their Turkish associates. To ensure that the ir advertisements on TV, the most popular medium, reach the target group, advertisers apply different strategies: embedding products in the 8Q CHAMBER OF COMMERCE programs, using virtual advertisements, shooting advertisement series, featuring stars in their advertisements, ete. In fact, the very purpose of these efforts is to make their investments rentable. On the other hand, marketing communication and integrated marketing approaches are becoming more and more important. Based on this, many advertisers have been developing their spansorship business in addition to classical advertising. Spansorship provides the necessary basis to reach the target group especially on TV: Companies manufacturing the dothes of a presenter in a TV program or the main character in a TV series and the companies offering the fumiture and accessories in the place where the program is sh ot are im portant from the viewpoint of viewers. The main spansor of a popular program is sametimes presented with the "( ... ) presents" motto. This alsomakes viewers perceive the company/brand in question as an integral part of the program and has a positive effect on the brand awareness and image. As a matter of fact, our study on TV series viewers shows that they show interest in sponsorship, which is a relatively newer domain compared to classical advertisements. The Attention Paid to Sponsors of TV Series 17% Pays Never pays attention Never notices TURKISH TELEVISION BROADCASTING 20 81 55 COUNTRY Gr eec e Hour: Minute 05:39 05:18 05:03 04:47 Global Nielsen ' - ' V ' " " ' " ' ' ' u " " ' 2010 84 S T A N B U L CHAMBER OF COMMERCE higher in some specific social and professional categories such as housewives, retired or people with problems of involving in outdoor activities. Audience measurement studies point out that the most watched programs in Turkey in annual average are, despite periodic and short term changes, local TV series,. According to field surveys conducted through face-to-face questionnaire method, the results are slightly different: N ews or prime time news are the most watched programs, and TV series are in the second rank. For example, according to the survey conducted by RTSC (Radio and Television Supreme Council) in 2009, news are in the first rank with a ra te of 93.7 % in the list of the most watched programs, "local TV series" are in the second rank with a rate of 86.2 %. However, this could be resulted from the difference between declaration and behaviour as often observed in studies on conviction and social behaviour. In other words, people prefer declaring "socially acceptable behaviour" rather than saying the truth. Moreover, according to the RTSC's survey, "religious programs" occupy the third rank with a rate of 61.8 & in the list of most watched programs, this also signifies a deviation resulted from the methodology, because in spite of such a popularity as declared by the audience, there is no such a high demand for such programs in the television market. On the contrary, as w e have seen above in the seetion analysing the broadcasting stream of some selected channels, such programs do not occupy a large part to constitute a separate category 56 even in the channels giving a special emphasis to religious-spiritual matters. Periodic tendencies should be taken into account regarding this topic. month of is a very special period in Turkey because of i ts sanctity for Muslims. Even channels which do not broadcast religious-spiritual programs in other months of the year contain many programs discussing importance of Ramadan dev o tion during this special period. 56 For this reason, in our study of analysis, programs with religious content were analysed according to their structural features under the titles of education-culture or discussion. TURKISH TELEVISION BROADCASTING 20 ll 8 5 Studies conducted on the audiences of TV series indicate the well- established character of this habit. Almost half of the audiences ( 46 %) declare that they watch 2-3 TV series each week. A group of audiences consisting 36% of the total declare that they watch more than 4 TV series each week. This fact shows that the character of "the TV series watching" can be deseribed in terms of loyalty and multiple-watching rather than being an occasional practice. 22% The Number of TV Series Watched Weekly 1 TV Series 2-3 TV Series 4-5 TV Series Mo re Many studies displayed that the habit of watching television in general and watching TV series in particular is a "social" activity in Turkey. However, since there are no recent studies providing data about the general television watching practices, the data obtained from the people within the category of "TV series audiences" will be analysed regarding characteristics and analysis of the audiences 57 . This approach is methodologically convenient since almost every television audience in Turkey is also a "TV series audience". In Turkey, three out of fo ur audi en ce s declared that they watch their favourite TV series together with their families. This rate is much higher for women than for men. 57 Hlya et al., ibid., 2011, p. 160-177. 86 CHAMBER OF COMMERCE Table 12 - Do you watch your favourite TV series generally alone or with your family? BASE 1083 I watch I watch with my family It depends on TV series The habit of watching TV series not only together with family members but also with friends is a kind of continuation of "tele-visiting" practice of the past days where TV sets were in limited number in Turkey. Many people denote that when they visit other people or are visited by other people, they watch the series on TV altogether and chat about them. A person interviewed in our qualitative field study deseribed this situation as: "In the evenings we visit other people or they come to visit us. There is X (name of TV series) on television. The subject on the series is spontaneously broached and we talk about it." (A; Female; 25-34; manager, single; Samsun). Certain ritualistic behaviours have been developed regarding watching TV series. Studies w e have conducted s ince 1996 show ed that the se rituals have not changed but more deeply established. People who were interviewed during our questionnaire surveys were asked whether if they perform one of those established behaviours, the tab le below displays the percentages of the people who adopted those behaviours more or less. TURKISH TELEVISION BROADCASTING 2011 8 7 Tab le statements STATEMENT SEX FEMALE% MALE % Ev en if there are other TV sets in the w e like to watch the same TV series on a single TV set 84,3 Ifwe watch TV series together with couple ofpeople, we deliberate on that series. we drink tea or ete. W e compare the or stories in it with the if there is a series When own and 62.0 office or in neighbours' house is o ur favourite of conversation. 88 CHAMBER OF COMMERCE within their own communities and for maintaining and even establishing emotional bo n ds with the ir homeland. 58 The general approach of audiences of TV series towards the regulation of broadcasting in Turkey indicates that there is a fairly liberal mass of audience. They do not approve the penalties imposed by R TSC for the infringement of broadcasting principles. They prefer regulation of broadcasting times instead of penalties. Almost 2 out of 3 audiences think that "some TV series should be broadcasted in Iate hours instead of being subjected to penalties". Furthermore audiences think that controlling over TV programs should be in the hands of audiences, so the regulation of broadcasting should be left to the free-market principles. Almost 3 out of 4 audiences state that "I think criticisms against TV series are absurd, if you do not like them, then do not watch them". Television watching practices have been gradually regarded as an important sociological phenomenon, and theoretical studies in this field have very much increased recently, these scientific studies do not only question "w hat and when audiences watch" but also "why", "ho w" they watch and "for what" reasons. Studies conducted in Turkey regarding television audiences in terms of such perspective present very significant findings. U nderstanding how audiences utilise television programs for their own needs is quite important to comprehend the prominence of this media and i ts content 59 . The findings that we obtained from our field studies demonstrate that although TV series are completely fictional, audiences get "documentary" benefits from these programs: TV series shot in particular regions or places introduce these places to the people just like documentary movies; such as "Mardin houses", "streets of or "mountain pastures of Blacksea 58 59 For detailed information cf. Hlya "La Construction des identites et socialites a travers les pratiques culturelles : les irnmigres turcs et les feuilletons televises", in Diversite CuZturelle en Turquie et en Europe", A. Boeckel, I. Karakas (dir.), L'harrnattan, Paris, 2004. There are many scientific studies conducted in this field. For example see David Morley, Television, Audiences and Cu/tura! Studies, Routledge, London and New York, 2003 (1 1 92). TURKISH TELEVISION BROADCASTING 2011 60 Kitle 61 92 S T A N B U L CHAMBER OF COMMERCE 100 90 80 70 60 50 40 30 20 10 o 2008 Dispersal of TV Advertising Revenue according to licence Type (%) 2009 2010 Source: Mindshare, 201 O Nationa l TV Regional TV Loca l TV Cable TV Sa te ll it e TV Szeri and Gney state that media groups owning more than one television channel dominate the most of the market , therefore the market is very much concentrated in the hands of these media groups. Szer and Gney utilise the table belove to show the concentration rate in the market, and in this table they include HHI (Herfindahl Hirschman Index) 62 to display the share of each company in this concentration within the market, and the market share (CR%) 63 and the share in concentration of four media groups which dominate the 80 % of the market. Szer and Gney pointed out that HHI values between 1500 and 2500 signify a medium level concentration according to the standards determined by the Secretary of Justice of The United States of America, and 62 63 Herfindahl Hirschman Index: Developed by Hirschman and formulated by Herfindahl, this index displays the share of each company in concentration and considers the total distribution. According to this index, if the total sum of the squares of the market shares of the first two, fo ur or eight companies in the market is below 1500, as a general tendeney it can be said that the industry is not concentrated. If the values are between 1500 and 2500, then the industry is medium concentrated, and if it is above 2500, then the industry is highly concentrated. Ceren Szeri, Zeynep Gney, ibid, p.54. CR% (Concentration Ratio): It shows the market shares. Ceren Szeri, Zeynep Gney, ibid, p.55. 64 65 TURKISH TELEVISION BROADCASTING 2011 group 19 361 15 8 64 94 CHAMBER OF COMMERCE Market Shares of Media Groups in TV Broadcasting Source: Mindshare, 201 O The total percentage of market share on the graphic is 99% as the real total market share of the 4 groups of whose market shares are indicated as zero adds up to 1%. The general of the people working in the television broadcasting sector is a good indicator of the newly developing character of this sector. Szeri and Gney summarizes the fundamental data this as such: "According to data provided by Social Security Institution, the number of employees with social security working in sectors of "television production and broadcasting" and "production activities of cinema movies, video and television TURKISH TELEVISION BROADCASTING 2011 95 programs" 66 is 348 8 % of all employees are working in based institutions and 8 % of them is working in Ankara. Television broadcasting seetar is a relatively new seetar comparing to established sectors such as the press. Employees working in the television broadcasting seetar are mostly young or middle-aged people, and the number of experienced employees is low. The percentage of the number of men (67 %) working in the television broadcasting seetar is much higher than that of women (33 %). Dispersaf of Employees in TV Broadcasting Sector according to Ages Source: Social Security Office data, November 2010 The number of the employees with social security and with a tenure of less than five years is quite high." 67 66 67 The employees in this sector was not included in television broadcasting sector, because employees especially working in the public sector are registered in sector of "production activities of cinema movies, video and television programs". Ceren Szeri, Zeynep Gney, ibid, p.52. 96 CHAMBER OF COMMERCE Service Term of Covered Employees in TV Broadcasting Over 10 6% Source: Social Security Office data, Novernber 2010 Although these data are quite explanatory, the total labour force in the television sector is much higher than the numbers stated by the Social Security Institution. First of all, the media sector has a large number of free-lance employees. As a result of technological developments some groups prefer flexible working hours, however it is not easy to specify a number about such groups. As we have discussed in previous parts, the production of TV series in Turkey has become a sector on its own. People working in different levels of this sector can be considered as "television employees". Some employees might be registered in social security institutions by some channels working with their own or fellow production companies. However, in TV series sector w hi ch should be considered within the "mo vi e industry", the unregistered employment is very much widespread. As we mentioned in our previous studies, one of the faremost demands of the employees in this sector is registration of labour force through regulations in accordance with the conditions of the sector 68 . 68 Hlya ibid., 2011, p. 210. 69 70 71 TURKISH TELEVISION BROADCASTING 2011 98 CHAMBER OF COMMERCE Besides the Faculties of Communication, 7 Fine Arts Faculties provide "Cinema-TV" education. There are also several institutions providing certificate programs on television broadcasting and television joumalism such as Pera Gzel Sanatlar, TURVAK, Akademi Turkish television series in particular and Turkish television programs in general an important place not only in domestic market but also in international markets. Even in the period of public television broadcasting on a sin gl e channel in 1981 TRT started exporting programs to different countries. Obviously at that time because of the nature of the public broadcasting, the main aim was not to gain but to introduce Turkish culture and provide Turkish citizens living abroad with programs in their own language and culture. In 1981, 52 productions including documentary movies, movies and series were sold to 9 countries mostly in Europe. In 1986, TRT was represented in its own stand of representation in Cannes Film Festiva1. 72 However, Turkish television prorgams became really widespread in the 2000s. First, the TV series of Kanal D titled as (Noor) was sold to Egypt and then to other Middle Eastem and Gulf countries as a result of international connections built up by the broadcasting company. As a result of this expansion started in 2006, had a great success in these countries just like "Dallas" or "The Young and The Restless" on ce had. Its name was change d as "N oor" and became a sensational phenomenon. As stated by the producer of this series, many factors had their share in this success. First of all, one of these factors is the positive image that Turkey has gained recently in the Middle Eastern and Ara b-Muslim societies. Second, although having a Muslim population, Turkey has much more liberallife styles, so Turkey became a model for these countries and such kind of life styles was transmitted through and other TV productions. Third, the main character of the series was a strong and independent woman who can overcome with her own determination without the h elp of o man 73 . 72 73 For more information in this subject cf. zden Cankaya, ibid, 2002, p. 241. In-depth interview with the producer, 22 July 2011. TURKISH TELEVISION BROADCASTING 2011 74 75 76 100 CHAMBER OF COMMERCE recognition, so the demand for these products increased in international markets: Clothing, household textiles, accessories, furniture, automobiles, technological products, food products are some of these products. Places, towns, regions, districts where TV series are shot became the favourite spots of domestic and international tourism. For example, tourists coming from the Gulf or Middle Eastern countries vis it Abut the main setting of "Gumus- Noor" series before visiting historical venues, so Abut Yalisi became a sort of museum and a lucrative commercial venture. In terms of domestic tourism, Cappadocia region as the setting of Konak" series which was on TV during 2002 became a favourite point for domestic tourists. The region was discovered by tourists as a result of this TV series although the region has profound historical and natural importance. As a similar case , after the broadcasting of a TV series based on the lives of Sleiman the Magnificent and his wife Hrrem Sultan, the number of domestic visitors of the Palace increased rapidly. Furthermore, after there was an increasing interest towards books and cultural and discussion television programs about Ottoman history. This reveals that TV productions and movies do not have only commercial values but also positive features regarding culture. In accordance with all these developments, Ministry of State responsible for Foreign Trade declared that the sector of cinema and mo vi e w as included as 24th sector within the sectors eligible for state support for exportation as of 2010. In this context, regulations were made to provide supports for the movie and cinemasector as other sectors enjoy. As privileged export products, Television productions and especially TV series became subject to some critical comments particularly coming from the countries which these TV production are exported to. These critical comments were especially about the format and technical features of these productions. Within last few years, the durations of the episodes became quite long to exploit the commercial capacities at maximum level, however broadcasting of Turkish TV series abroad became impossible due to such long episodes. For TURKISH TELEVISION BROADCASTING 2011 102 CHAMBER OF COMMERCE field especially in continental Europe 80 , it became a very densely studied academic field in the academic world in Turkey. 81 Today, Turkish television broadcasting with its pluralistic character, its variety and richness is in a very positive position. To ameliorate this position, all the partners in sector should develop long term strategies instead of daily plans which will be detrimental for the sector in the long run. For example, taking the commercials out of daminance of increasingly stereotype TV series, directing productions to matching audiences and distinguishing regulations from punishments are some of the step s that should be taken in this direction. Turkish TV producers and broadcasters participate to different international organizations, pitching forums, ete. where they meet professionals of their sector. They have to take profit from the actual positive conjoncture and work to elaborate new conditions to develop Turkish TV broadcasting even in national then international markets, by creating new dramas, new formats and also co-production opportunities. It will be not only a benefit for the TV broadcasting sector but for the whole image and situation of Turkey. 80 81 These debates stern from the approach daiming that every media audience is already a "media literate", and they can develop different literacy styles suitable for their own needs. A centrally education of media literacy is criticised of being "elitist" and of being a tool in the hands of official ideologies. As an example cf. Nuray Melda Cinmen (ed)., Medya Kalem us, 2007. o et Mesurer Kurumunun sciences ELENK Sevilay (2010), Memnu'dan Memnu'ya yerli dizi servenimiz", Birikim, p. 18-27. HALL Stuart (1985), "Encoding, decoding", in Stuart Hall et al. (eds.), Culture, Media, Language, Hutchinson, Londres. JOST Franois (1999), Introduction a l'analyse de la television, Ellipses, Infocom, Paris. LE GRIGNOU Brigitte (2003), Du cte du public. Usages et reception de la television, Ed.Economica, Coll.Etudes Politiques, Paris. MAJORET Eric, MACE Eric (2005), Penser !es mediacultures. Nouvelles pratiques et nouvelles approches de la representation du monde, A. Colin et INA, Paris. MATTELART ve Michele (1998), Kuramiarz Tarihi, Cem Y MODLESKI Tania (1982), Hznla Sevmek, Pencere MORLEY David (2003), Television, Audiences and Cu/tura! Studies, Routledge, London and New York (1992). Meral (1997), "Arabesk Culture: A Case of Modemization and Popular Identity", Rethinking Modernity and National Identity in Turkey, BOZDOGAN Sibel and KASABA (eds.), Chapter 12, University of Michigan Press. http://library.northsouth.edu/Upload/Rethinking%20Modernity.pdf ZKAN Evrim Tre (20 1 0), Film Endstrisi, Bilgi niversitesi Y UGUR Hlya, et al. (20 Trkiye 'de Film Endstrisinin Konumu ve Hedefleri, Ticaret UZUN Ruhdan, sorunu Trkiye' de ve Kurarn ve Dergisi, no 25, Yaz-Gz 2007, p. WOLTON Dominique (1990), L 'Eloge du grand public. Une theorie critique de la television, Flammarion, Champs, Paris. OTHER Calinos, http:/ /www .calinos.com/tur Republic of Turkey, Ministry of Development, http://www.dpt.gov.tr IPTV Association, http://iptv.org.tr/iptv Platform of Communication Faculties, http:/ /ifop.kocaeli.edu.tr Cem TV Awards Almanac (2009). Chamber of Certified Public Accountants 2008-20 O "Economy of TV Series" Report.http:/ /archive.ismmmo.org.tr/docs/yayinlar/kitaplar/20 O_ 0%20dizi %20arastirmasi. pdf "Nielsen TV Almanac 20 O", S tarcom Media Ve st Group Connected, http:/ /smgconnected.com/tv-yilligi-20 0-hanelerde-sahiplik-ve-yayin-alma- sekilleri NTVMSNBC, http://www.ntvmsnbc.com Radio and Television Supreme Council (RTSC), http://www.rtuk.org.tr 2010-1 2010-2 2010-3 2010-4 2010-5 2010-6 2010-7 2010-8 2010-9 2010-10 2010-11 2010-12 2010-13 2010-14 2010-15 2010-16 2010-17 2010-18 2010-19 2010-20 2010-21 2010-22 2010-23 2010-24 lC OC PUBUCATIONS (201 O) 'un Renkli Hazineleri: Bizans Mozaiklerinden inilerine - Esnaf : Bir Zamanlar (2.bs.) da 40 Le zzet ( = F orty Years O Id 40 Taste Havens in (29x29 cm) da 40 Le zzet ( = F orty Years O Id 40 Taste Havens in (20x20 cm) Trk Yan Sanayi ye Profil (Trke- Ticaret ve Taeider Haberlerden 2009 Fiyat (=Price Indices) Makroekonomik Gstergeler (=Macro Economic Indicators) dan Cumhuriyet' e zel Ynelik Devlet Politikalan Bymenin Yolu Afrika' dan Geiyor Bilim- Temelli Ekonomi ve Toplum zrller ve Raporu' 2009 Dilencilik Olgusuna Gre !.Dnya ncesi Ticareti Trkiye'de AR-GE Avrupa Serbest Ticaret Trkiye'nin de Dahil Edilmesi Dnyada ve Trkiye'de Mesleki ve Teknik Finansman Harcamalar ve Maliyet Trkiye Yeni Bir Byme Modeli Koliektr Kentii Servis Trkiye'den Az lkelere Sermaye G (Relokasyon) 201 2010-50 2010-51 2010-52 2010-53 2010-54 2010-55 2010-56 2010-57 2010-58 2010-59 2010-60 2010-61 2010-62 2010-63 2010-65 2010-66 2010-67 2010-68 2010-69 2010-70 2010-71 2010-72 2010-73 2010-74 2010-75 2010-76 2010-77 2010-78 Nobel'in izinde Mikroekonomi ve Makroekonomi Dzeyinde Kresel Rekabet Gcn Etkileyen Faktrler ve Stratejiler Yolu dan Geen
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