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The audience perception regarding women representation in the Turkish TV serial "The Magnificent Century"
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Media (specifically television) is a vital tool of cross-cultural communication, cultural exportation, gaining soft power, and public diplomacy. Lately, Turkey has adopted a strategy of multidimensional public diplomacy where the Turkish media (Television serials) exports have emerged as a public and commercial cultural diplomacy tool for the last...
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... Whether due to the intention of the production that the series be well received in other language areas. Considering the religious affiliation [36] i.e., nonaffiliation, the costume design of the female characters of these two series cannot be regarded as appropriate for the period they illustrate [37]. From sultans to other members of the lower-ranking harem, women's costumes are closest in appearance to the Gothic medieval costumes we see in Hollywood romance films from the 1950s. ...
Historical portraits are an unavoidable source of clothing fashion for a given period since the person portrayed for that solemn occasion of showing himself wore the most representative costume that was in line with his position and wealth. By the degree of accessibility of art, the number of works of art, i.e., portraits, increased and went beyond the limits of restrictions on higher social strata. Members of the lower classes were also allowed to present themselves. However, the most impressive are the nobility and rulers' images, most often represented as a theme in historical series and movies. The costume design of the film industry depends on historical photos, and the younger the period, the richer the material and vice versa. The paper analyzes the costumes of historical figures by comparing them with portraits from a given period and reaches the degree of commitment with progress, i.e., the formation of stylistic processing in costume design. The modern treatment of costumes from the past is their revival in a contemporary way in which the costume designer has a historical portrait as a basic template. In addition, it is necessary to know the history of costumes, development, and application of textile materials, i.e., knowledge of written and material historical sources, which indicates consulting with several experts. The costume designer gives the final word in the style of design. Still, the influence of production and its evaluation in the degree of acceptance by the audience is inevitable, which can affect certain distances in the replication of art originals.
APSTRAKT: Istorijski portreti su nezaobilazan izvor mode odevanja za dati period obzirom da je portretisani za tu svečanu priliku prikazivanja sebe odevao najreprezantivni kostim koji je bio u skladu sa njegovim položajem i bogatstvom. U skladu sa stepenom dostuponosti umetnosti i broj umetničkih dela, odnosno portreta, se uvećavao i izlazio iz okvira ograničenosti na više društvene slojeve, te su priliku da se prikažu dobijali i pripadnici nižih staleža. Ipak, najupečatljivije su nam slike plemstva i vladara i to je ono što je kao tema najčešće i zastupljeno u istorijskim serijama i filmovima. Kostimografija fimske industrije zavisi od istorijskih slika i što je period mlađi, materijal je bogatiji i obrnuto. U radu se pravi analiza kostima istorijskih ličnosti poređenjem sa portretima koji su iz datog perioda i upoređuje stepen posvećenosti sa napretkom, odnosno formiranjem stilske obrade u kostimografiji. Savremena obrada kostima iz prošlosti je njihovo oživljavanje na moderan način u kome kostimograf kao osnovni predložak ima istorijski portret. Osim toga, potrebno je poznavanje istorije
Turkey, as most countries in the world, is increasingly employing public diplomacy methods to promote its interests and to reach foreign audience in order to create soft power. In order to understand the neo-Ottoman ideology and the practices used by Turkish public diplomacy institutions in the attempt to influence foreign audiences and create soft power, we will analyse, in the present paper, the way in which neo-Ottoman ideas and theses have been inserted into various activities and actions subsumed under public diplomacy, and we will identify the regions in different areas of the world where public opinion has become a target group. The Justice and Development Party (AKP) has made public its foreign policy goals, including that of increasing its influence in Muslim societies in the Balkans, the Caucasus, Central Asia, Africa and the Middle East. Considering the mentioned aspects, the paper explores the way in which AKP uses the instruments and institutions specific to public diplomacy to promote a neo-Ottoman ideology and to organise a foreign policy that reflects Ottoman imperial times.
Turkey, as most countries in the world, is increasingly employing public diplomacy methods to promote its interests and to reach foreign audience in order to create soft power. In order to understand the neo-Ottoman ideology and the practices used by Turkish public diplomacy institutions in the attempt to influence foreign audiences and create soft power, we will analyse, in the present paper, the way in which neo-Ottoman ideas and theses have been inserted into various activities and actions subsumed under public diplomacy, and we will identify the regions in different areas of the world where public opinion has become a target group. The Justice and Development Party (AKP) has made public its foreign policy goals, including that of increasing its influence in Muslim societies in the Balkans, the Caucasus, Central Asia, Africa and the Middle East. Considering the mentioned aspects, the paper explores the way in which AKP uses the instruments and institutions specific to public diplomacy to promote a neo-Ottoman ideology and to organise a foreign policy that reflects Ottoman imperial times.
In the present study, the female audience of the Turkish TV series” İstanbullu Gelin”,
reading about gender and its relations has been considered. Active audience, symbolic
destruction and stereotyping have been the most important theories in the present study.
The method of the present study is qualitative. For data gathering in-depth semi structured
interview technique was used and purposive-theoretical sampling has been
considered.One of the most important points that researchers have been paying attention
to is the generational differences in the study of audience reading, and therefore the age
range of 19 to 65 years have been studied. The sample size in the present study is
determined based on theoretical saturation. In order to enrich the data as much as possible,
21 interviews with the best quality were selected and analyzed out of a total of 25
interviews.Thematic analysis has been used in the analysis of audience reading data.
Theme analysis was performed at 4 levels of primary, main, central and core themes.
According to the research results, the contrast between stereotyped and deconstructive
readings of gender and gender relations was the core theme of the findings. The main
themes of feminine consumerism, feminine erotic capital, the representation of traditional
patterns and stereotypes have been themes representing stereotypical femininity. The
democratization of gender relations and the violation of the norms of femininity were also
the main themes of the representation of deconstructive femininity. Also, according to the
results of the research there are significant differences in the reading of the audience and
each audience has adopted an oppositional, negotiated and dominant view based on their
tastes, interests, experiences and worldview. Also according to the findings, education and
employment status have been the important components that affecting the type of audience
perceptions and the age component did not play a decisive role and generational
differences were not seen in the audience reading.
Turkey is now the second biggest TV market exporter after the US finding huge audiences among Arab women. This study examines how Algerian women perceive the Dizi genres, what makes them captivating and influential, and determines the dominant positive and negative themes tackled in these TV dramas. Based on literature review on globalized media, media effect theories, and gender studies, an online focus group discussion, online questionnaires, and interpretative phenomenological analysis techniques this study aims to understand the reception and perception of Turkish TV series by Algerian female viewers.
The thesis implements the audio-visual content analysis method on the most-watched Dizi TV drama titled Harim al-Sultan as a case study to identify the prominent features of those soap operas. The findings show that the lack of Algerian local cinematic production, cultural proximity between Turkey and Algeria, Syrian dialect, creative scenarios, and modern lifestyles broadcasted in the Dizi TV dramas has rapidly increased its popularity among
Algerian female viewers. The results also indicate that Turkish TV dramas depict women who appear to be modern and independent and who challenge imposed traditional patriarchal values. At the same time, they also promote gender stereotypes, romanticizing rape stories, and spreading Western ideologies under the umbrella of modernity that could threaten or weaken Algerian females’ traditional values. Audio-visual content analysis shows that Harim al-Sultan contains controversial topics, that generated many critiques in terms of history, power, religion, identity, and representation of women. Nonetheless, this study examines how participants incorporate some Dizi TV series’ features in a relevant way to Algerian female traditional values and lifestyles, thus, arguing for the creation of an ambiguous identity which sits at the cusp of traditional principles and modern hybrid identities.
The concept of Soft Power is reflected in this study in its clearest form and objectives in the model of the use of the Turkish TV series in the world in general and the North African countries in particular. Based on this, the aim of this study is to shed light on the viewers of modern Turkish TV series in Algerian society and to examine the different habits and motivations for watching these series. This study also investigated how the content and messages of these series affect Algerian viewers and how they serve the country's soft power in Algeria. This study adopted a quantitative approach where the researcher examined a section of Algerian society that formed the sample of the study. The online survey used questionnaires as a tool to collect data from a purposively selected sample of Algerian society. A total of 750 questionnaires were used for the survey. The results of the study showed that there are fundamental differences in the
viewing habits of the respondents of the study. The results of the study proved that there are two factors that make the study sample to watch Turkish series, namely the social factor and the aesthetic factor. In addition, the results of this study showed that there are a number of social influences of these TV series on the study sample. The results of the study also showed that these series play an important role as a soft power instrument in Algeria and have directly served Turkish foreign policy and the economy. Based on the study findings, the researcher, therefore, recommends the Algerian government to copy a leaf from the Turkish soft power policy so that
it can have a greater impact on other societies, especially in North Africa.
Keywords: Turkish TV Series, Soft Power, Media Effects, Algeria
Medyanın hareket alanını artırma etkisine sahip olması ve insanların artan derecede alışık hale geldiği yeni bir küresel ‘mekân’ oluşturması günümüzün önemli özellikleri olarak görülmektedir. Medya, değişen doğruluk, tamlık veya güvenilebilirlik dereceleri ile sosyal gerçekliğin yansımalarının bir kaynağıdır. Kitle iletişim araçları kimlik (uyruk, dil, iş, etnisite, din, inanç, yaşam tarzı) oluşturmanın, kimliği devam ettirmenin ve kimlik çözülmesinin (parçalanmasının) birçok farklı yönü ile ilişkilidir. Sosyal değişimi yansıtmanın yanı sıra medya kitleleri yönlendirebilir veya az ya da çok entegrasyona, uyumlanmaya neden olabilir. Kitle iletişim araçlarının oluşturulması ve kullanımı teknolojinin ve topluca üretilmiş içeriğin evrenselleştirici eğilimlerine direnen kültürel uygulamalardır. Televizyon, yumuşak güç elde ederek, sosyal devrime katkı sağlayarak ve farklı arka plana, farklı kültürlere sahip ulusları birbirine kenetleyerek çok kültürlü ve politik iletişimde etkin bir rol oynar. Son yirmi yıldır Türkiye ve Kore, Türk ve Kore Televizyonunun ihraç ettiği çok boyutlu bir kamu diplomasisi stratejisi benimsemiştir ve sermayelendirme kamusal ve ticari kültürel diplomasi aracı olarak ortaya çıkmıştır. Medyanın tek yönlü akışı ile karşılaşılmasıyla (Birleşik Devletlerden dünyanın geri kalanına) bu araştırma sosyal, psikolojik, kültürel ve ekonomik etkiler bağlamında Türk ve Kore televizyon yapımlarının, prodüksiyonlarının yaygın etkisine odaklanmaktadır. Ayrıca TV dizileri, kültürel karşılaşmalar ve sermayelendirme yoluyla kültürel ihracı, yani içerik satışını, dolaylı reklamı ve medya kaynaklı turizmi kapsamaktadır.
Çalışma çerçevesinde, genel olarak Türk TV dizileri için iki ve Kore TV dizileri için bir adet olmak üzere üç çevrim içi anket gerçekleştirilmiştir. Türk TV ihracını analiz etmek için nicel ve nitel veriler Güney Asya (Pakistan) ve Orta Doğu (Mısır) olmak üzere iki bölge örnekleminden alınmıştır. Bununla birlikte Kore TV dizilerinin ulus ötesi rolünü analiz etmek için nicel ve nitel veriler Kore dizilerinin Türk izleyicilerinden elde
edilmiştir. Sonuçlar anketleri yanıtlayanların büyük bir çoğunluğunun tarihi ve çağdaş TV dizilerini izlemeyi seçtiklerini göstermektedir. Sosyal, psikolojik ve kültürel etkiyi takiben cevap verenler davranışları ve sosyal yaşamları üzerindeki etkisi konusunda muhtelif görüşlere sahiptir, bu da hem aktif hem de pasif izleyicilerin olduğunu da göstermektedir. İlgili cevap verenlerin büyük bir kısmı Türk ve Kore TV dizilerinin Türkiye ile Kore’yi ziyaret etmek ve Türk ve Kore ürünleri almak için ilham kaynağı olduğuna inanmaktadır. Veriler, geleneksel akışlı (streaming) olmayan televizyon programlı görünümünün medya içeriğinin yabancı pazarlara genişlemesinde önemli bir rol oynadığını ortaya çıkarmaktadır. Yabancı içerikler arasında Türk ve Kore TV dizilerinin seçilmesinin ana nedenleri Kültürel Yakınlık, Kültürel Melezlik, Kurgu ve Prodüksiyon Kalitesi ile Cazip içerik ve Erişilebilirliktir.
Anahtar Kelimeler: Uluslarasılaşma, Türk TV dizileri, Kore TV dizileri, kültürlerarası iletişim, Kültürel Yakınlık, Muhteşem Yüzyıl, Kadınların Temsili, Osmanlı Tarihi.
Medyanın hareket alanını artırma etkisine sahip olması ve insanların artan derecede alışık hale geldiği yeni bir küresel 'mekân' oluşturması günümüzün önemli özellikleri olarak görülmektedir. Medya, değişen doğruluk, tamlık veya güvenilebilirlik dereceleri ile sosyal gerçekliğin yansımalarının bir kaynağıdır. Kitle iletişim araçları kimlik (uyruk, dil, iş, etnisite, din, inanç, yaşam tarzı) oluşturmanın, kimliği devam ettirmenin ve kimlik çözülmesinin (parçalanmasının) birçok farklı yönü ile ilişkilidir. Sosyal değişimi yansıtmanın yanı sıra medya kitleleri yönlendirebilir veya az ya da çok entegrasyona neden olabilir. Kitle iletişim araçlarının oluşturulması ve kullanımı teknolojinin ve topluca üretilmiş içeriğin evrenselleştirici eğilimlerine direnen kültürel uygulamalardır. Televizyon, yumuşak güç elde ederek, sosyal devrime katkı sağlayarak ve farklı arka plana, farklı kültürlere sahip ulusları birbirine kenetleyerek çok kültürlü ve politik iletişimde etkin bir rol oynar. Son yirmi yıldır Türkiye ve Kore, Türk ve Kore Televizyonunun ihraç ettiği çok boyutlu bir kamu diplomasisi stratejisi benimsemiştir ve sermayelendirme kamusal ve ticari kültürel diplomasi aracı olarak ortaya çıkmıştır. Medyanın tek yönlü akışı ile karşılaşılmasıyla (Birleşik Devletlerden dünyanın geri kalanına) bu araştırma sosyal, psikolojik, kültürel ve ekonomik etkiler bağlamında Türk ve Kore televizyon prodüksiyonlarının yaygın etkisine odaklanmaktadır. Ayrıca TV dizileri, kültürel karşılaşmalar ve sermayelendirme yoluyla kültürel ihracı, yani içerik satışını, dolaylı reklamı ve medya kaynaklı turizmi kapsamaktadır. Çalışma çerçevesinde, genel olarak Türk TV dizileri için iki ve Kore TV dizileri için bir adet olmak üzere üç çevrim içi anket gerçekleştirilmiştir. Türk TV ihracını analiz etmek için nicel ve nitel veriler Güney Asya (Pakistan) ve Orta Doğu (Mısır) olmak üzere iki bölge örnekleminden alınmıştır. Bununla birlikte Kore TV dizilerinin ulus ötesi rolünü analiz etmek için nicel ve nitel veriler Kore dizilerinin Türk izleyicilerinden elde edilmiştir. Sonuçlar cevap verenlerin çoğunluğunun tarihi ve çağdaş TV dizilerini izlemeyi seçtiklerini göstermektedir. Sosyal, psikolojik ve kültürel etkiyi takiben cevap verenler davranışları ve sosyal yaşamları üzerindeki etkisi konusunda muhtelif görüşlere sahiptir, bu da hem aktif hem de pasif izleyicilerin olduğunu da göstermektedir. İlgili cevap verenlerin büyük bir kısmı Türk ve Kore TV dizilerinin Türkiye ile Kore'yi ziyaret etmek ve Türk ve Kore ürünleri almak için ilham kaynağı olduğuna inanmaktadır. Veriler, geleneksel akışlı olmayan (streaming) televizyon programlı görünümünün medya içeriğinin yabancı pazarlara genişlemesinde önemli bir rol oynadığını ortaya çıkarmaktadır. Yabancı içerikler arasında Türk ve Kore TV dizilerinin seçilmesinin ana nedenleri Kültürel Yakınlık, Kültürel Melezlik, Kurgu ve Prodüksiyon Kalitesi ile Cazip içerik ve Erişilebilirliktir.
Anahtar Kelimeler: Uluslarasılaşma, Türk TV dizileri, Kore TV dizileri, kültürlerarası iletişim, Kültürel Yakınlık, Muhteşem Yüzyıl, Kadınların Temsili, Osmanlı Tarihi.
Media connects places, reducing the distance that separates individuals, countries, and cultures. Its major trends are said to have a delocalizing effect or to establish a new global 'place,' which increasingly people recognize as familiar. It is a source of the reflections of social reality, with varying degrees of accuracy, completeness, or dependability. The mass media are associated with many different aspects of identity (nationality, language, work, ethnicity, religion, belief, lifestyle) formation, maintenance, and dissolution. They can drive as well as reflect social change and lead to either more or less integration. The production and use of mass media are cultural practices that resist the universalizing tendencies of the technology and the mass-produced content. Television plays an active role in cross-cultural and political communication, gaining soft power, contributing to social revolution, and tying together nations of different backgrounds and cultures. Over the last two decades, Turkey and Korea have adopted a strategy of multidimensional public diplomacy whereby Turkish and Korean Television exports and capitalization have emerged as a public and commercial cultural diplomacy tool. Encountering the unidirectional flow of media (form the US to the rest of the world), this research focuses on the widespread impact of Turkish and Korean television productions in the context of social, psychological, cultural, and economic impacts. Moreover, it is covering the cultural exportation through TV serials, cultural-encounters, and capitalization—i.e., content sales, indirect advertisement, and media-induced tourism. Overall, three online surveys, two for Turkish TV serials, and one for Korean TV serials have been conducted. For analyzing Turkish TV exportation, the empirical data has been collected from the sample of two regions, South Asia (Pakistan) and the Middle East (Egypt). However, to analyze the transnational role of Korean TV serials, empirical data has been collected from the Turkish audience of Korean serials. The results denote that the majority of respondents preferred to watch historical and contemporary TV serials. Following the social, psychological, and cultural impact, the respondents have diverse opinions regarding its impact on their behavior and social lives, indicating the existence of both active and passive audience. A large number of respective respondents believe that Turkish and Korean TV serials are a source of inspiration to visit Turkey and Korea and buy Turkish and Korean products. The data reveals that the appearance of Streaming TV played a vital role in the expansion of media content to foreign markets. The main reasons for choosing Turkish and Korean TV serials among foreign content are Cultural Proximity, Cultural Hybridity, Fiction and Production Quality, Content Availability and Accessibility.
Key Words: Transnationalization, Turkish TV Serials, Korean TV Serials, Cross-Cultural Communication, Cultural proximity, The Magnificent Century, Women Representation, Ottoman History.
