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Televizyon dizilerinin uluslararasılaşması ve kültürlerarası iletişimde rolü ve etkisi: Türk ve Kore televizyon dizilerinin karşılaştırmalı bir çözümlemesi
Abstract
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.
The aim of present study is to explore the reception processes of Azerbaijani viewers’ of television channels broadcasting from Turkey within the framework of Cultural Studies pertaining to Turkish culture and tourism. Employing the audience-centered reception approach within the tradition of Cultural Studies, this study examines the reception patterns exhibited by participants residing in diverse cities in Azerbaijan who watch Turkish television programs. Four separate focus group interviews involving a total of 36 participants were conducted to investigate the dominant, negotiated, and oppositional styles of perception prevalent in audience reception research, thereby gathering data on the interpretive practices and reception behaviors of Azerbaijani viewers regarding the content they consume. The findings were thematically synthesized to elucidate the viewers’ reception styles. Consequently, the research indicates that diverse television content is interpreted by the audience through various reception frameworks concerning Turkish culture and tourism incentives. It was observed that Azerbaijani viewers, watch a broad spectrum of Turkish television programs, engage in understanding Turkish culture, with the majority of participants demonstrating a propensity towards dominant interpretations.
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 two decades. Turkish television channels are not only popular through local TV networks, but it also has access to a significant number of international audiences. This research article focuses on the reception and perception of international audience regarding Turkish television historical serial "The Magnificent Century". While questioning its perception through the international audience, this research highlights the representation of history (Ottoman era) and the portrayal of women in the selected drama serial. As methodology, following the quantitative research techniques, an online survey was conducted covering the general audience of two countries, Pakistan and Egypt. The main objective was to be able to question the sample audience representing two different regions: South Asia and the Middle East. The data proves that the audience from these two regions, developed a diverse opinion regarding the representation of the history and portrayal of women of the time. Throughout the survey, a certain segment of the respondents strongly argue that this serial has distorted the history, and contrary to the truth, the women in the serials were depicted as strong and powerful characters. On the other hand, a growing body of literature argues that women have been presented in the serials as an icon of lust, sex, and a satisfaction tool for the Sultans.
The Turkish TV dramas Magnificent Century and Resurrection Ertuğrul share a number of traits: Both reprise the country’s Ottoman (or proto-Ottoman) past by focusing their story on a heroic figure; both raised the ire of critics for their lack of historicity; and both have been highly successful, ruling ratings on the same competitive Wednesday night prime time slot, with Resurrection coming in to take Century’s place after that show left the air. Despite these similarities, the projects represent quite different takes on the Ottoman past and the issue of history’s role in the Turkish present. While Century arguably partakes in what Svetlana Boym calls reflective nostalgia, Resurrection is a highly restorative project. In this article, I detail the differences between these projects and explain their success in light of the shifting political environment in Turkey. I begin with a characterization of Century and the ‘problem’ it posed for a conservative government that was deeply invested in an idealized Ottoman past. I next turn to Resurrection, which I see as a government reaction to Century, and explain that it succeeds where other imitators failed due to the careful choice of a hero with a relatively blank historical slate. Finally, I argue that Resurrection practices a different attitude toward history than does Century, heralding for a government that not only seeks to glorify and idolize the past, but also to claim ownership of it.
The purpose of this article to tackle the current real danger of cultural vandalism, posed by radical Islam and the overall resurgence of the Religious in the modern notionally secular societies. The method of analysis used is Aristotle’s semiotic theory, his classification of signs( false, belief-causing and knowledge-producing ones), and his idea of secularism as a prerequisite of civilized society.
Accounts of Hallyu ("Korean Wave") exports in Southeast Asia often construct this phenomenon as a benevolent cultural force based upon a mutually beneficial arrangement designed to bring increased development and opportunity to the consumer. Such conclusions ignore the nature of Hallyu as soft power for Korean economic interests and also gloss over the complicated cultural differences that scholars understand have problematized its success in Southeast Asia. This article addresses the position of Hallyu in Laos, the poorest and least developed country in Southeast Asia and one of significant strategic importance to current Western and Eastern powers given its raw materials, geographical position, and current cultivation of overseas investment. While Hallyu in Laos may be constructed as part of a mutual exchange and beneficial arrangement, close analysis of the situation in Laos indicates a highly problematic situation in which Hallyu becomes part of a wider system of exploitation that is perhaps of little benefit to the ordinary Laotian consumer. Furthermore, close analysis of the few Korean cultural representations of Laos indicates that far from an equal partner, the nation is constructed as inferior, childlike, and in need of Korean assistance, in a discourse that is reminiscent of previous European-based Orientalism.
The need for cross-cultural communication skills arises whenever people from different languages and cultures come into contact. With increased tourism, international business, students studying overseas, and increasing awareness of indigenous minority cultures there is concern to foster better communication among different cultural groups. In the present paper, examples of cultural differences in communication in Australia and New Zealand are presented. Two approaches to the training of cross-cultural communication skills are described: the cultural assimilator developed by Brislin, and McCaffery's "learning how to learn" orientation.
This article argues that new media often get involved in struggles for new freedoms. The nascent book was involved in the struggle for religious freedom, the public press was engaged in the struggle for political freedom and today the Internet is, in turn, used as an instrument for the advocacy and promotion of new liberties: the freedoms of intimacy. These freedoms are related to needs and preferences derived from identities and lifestyles of communities based on gender, ethnicity, religious affiliation and sexual orientation. As new media help people to extend the frontiers of freedom, public authorities have often attempted to impose controls over them. This article identifies four traditional means of censorship (legal, administrative, violent and economic), and shows that the digital era has brought with it new means of curbing freedom of speech: technology. Finally, this article argues that since the book-burning scenes of the Inquisition, censorship has steadily moved away from demonstrative and restorative justice. The means to curb freedom of speech have become both more efficient and less visible.
Cultural proximity is a multidimensional concept, most often used to explain media preferences across national boundaries. The present study extends the construct, revealing its power to explain audience formation within a multicultural society. Portable People Meter data from Arbitron, Inc., was used to compare patterns of television and radio use across Spanish-speaking Hispanics, English-speaking Hispanics, and non-Hispanics in Houston, Texas. The results indicate that language preferences play a powerful role in determining audience behavior. Furthermore, while English-speaking Hispanics exhibit multicultural fluency, the other two populations show evidence of cultural polarization.
Cross‐cultural communication theories explain phenomena related to cross‐cultural research. Cross‐cultural research compares and contrasts people's communication across diverse cultures and explains the consequences of these differences. This entry covers primary definitions of domain items included in the cross‐cultural theory and research area including concepts such as individualism, collectivism, high‐ or low‐context communication, power distance, and uncertainty avoidance. The cross‐cultural applications of exemplary theories generating research in cross‐cultural communication research (anxiety/uncertainty management theory and face negotiation theory) are summarized. Methodological issues and recent research are also discussed.
This article examines the transnational circulation of Korean TV dramas in Latin America. It argues that the popularity of Korean TV dramas in Latin America has to do with how they offer a lived experience of social class struggles as an essential fabric of modernity.
Despite the assumption that Americans do not consume foreign media,1 South Korean2 popular culture is a growing phenomenon in the United States. Since Hallyu, meaning the Korean Wave and referring to the international success of Korean films, pop music, television dramas, and other cultural products, swept across Asia in the 1990s,3 the Korean government and culture industries have embarked on a quest to introduce Korean media worldwide to promote Korea and Korean products.4 Subsequently, after decades of alleged US cultural imperialism during which media flowed in a one-way direction from the United States to Korea, there is now a contra-flow of Korean media entering the United States.5 Interestingly, in recent years, originals and remakes of Korean films have been shown in mainstream US theaters, and Korean pop songs have appeared on US music charts.6 Long before Hallyu, The Beatles led the British Invasion of popular culture into the United States in the 1960s7, and in the 1990s, the Japanese anime series, Pokémon, was labeled a “craze” by CNN.8 Each cultural phenomenon has its own story of how it developed and how it was able to gain popularity, but this chapter shares the unique tale of Hallyu’s passage into the United States.
What are other people like? How do we decide if someone is friendly, honest or clever? What assumptions do we develop about them and what explanations do we give for their behaviour? The Perception of People examines key topics in psychology to explore how we make sense of other people (and ourselves). Do our decisions result from careful consideration and a desire to produce an accurate perception? Or do we jump to conclusions in our judgements and rely on expectations and stereotypes?. To answer these questions the bookexamines models of person perception and provides an up-to-date and detailed account of the central psychological research in this area, focusing in particular on the social cognitive approach. It also considers and reflects on the involvement of culture in cognition, and includes coverage of relevant research in culture and language that influence the way we think and speak about others. As well as providing a valuable text in social psychology, The Perception of People also offers a direction for the integration of ideas from cognitive and social psychology with those of cultural psychology, anthropology, sociology, philosophy and social history. Clear explanation of modern research is placed in historical and cultural context to provide a fuller understanding of how psychologists have worked to understand how people interpret the world around them and make sense of the people within it. Ideal reading for students of social psychology, this engaging text will also be useful in subject areas such as communication studies and media studies, where the perception of people is highly relevant.
What began as the spread of South Korean popular culture in parts of East and Southeast Asia in the late 1990s, Hallyu "the Korean wave," made its landing and mark in a new cultural context in Latin America years later nearing the end of the first decade of the 21st century. But how did Hallyu suddenly emerge in this part of the international system? What factors led to its development? The results of our field research findings in Peru and Brazil brings the argument away from the cultural proximity for both states with high levels of Asian migration (i.e. Japanese and Chinese) and provides an interesting insight into discussions on socioeconomic grounds that may have influenced individuals' interests towards Hallyu.
South Korean television dramas, K-Dramas, initiated the Korean Wave, Hallyu, in the late 1990s. Nowadays, a global viewership gathers online to stream K-Dramas live, watch them with subtitles, and discuss them on specialized blogs and message boards. However, most research still concentrates on East Asia as the main realm of K-Dramas' diffusion, and online communities that watch K-Dramas on the Internet have rarely been considered. Furthermore, most researchers analyze K-Dramas as products inscribed by "Korean culture" or "society," an approach that relies on an understanding of "cultures" and "societies" as discrete, homogenous, locally bounded entities. Expanding upon the nascent online audience research on K-Dramas, I propose in this article a shift of perspective by focusing on how international fans themselves account for K-Dramas (or elements thereof) as socially and culturally "Korean" or operate a rupture with such a culturalist viewpoint.
The following 40 pages offer a debate on the question of whether women are fairly represented and depicted in prime time television dramatic programs. Taking up the opening position is Ms. McNeil, a master's candidate in radio and television at the University of Illinois. This article is based on research undertaken for her thesis, and the author wishes to acknowledge the help of her advisor. Dr. Edward Douglass. Ms. McNeil has been a lecturer in communications at California State University, Fullerton.
This article considers how changes in audience behaviors and in audience information systems are affecting the future of academic audience research. This article first illustrates how changes in the media environment are undermining traditional approaches to audience research while also giving rise to alternative analytical approaches. This article then outlines the contours of a next-generation audience research agenda that reflects these ongoing conceptual and methodological developments. Reflecting these developments, this article next argues for a definition of ratings analysis that focuses not on a particular aspect of audience behavior (i.e., exposure), but on whatever forms of currency are employed in the audience marketplace. From this standpoint, the new media environment provides new forms of “ratings” that exist alongside—and integrate with—the old, and that can renew and revitalize the field of ratings analysis.
This paper suggests a new definition of soft power by making a distinction between hard resources and soft resources, rather than by differentiating between coercive power and cooptive power as Joseph Nye did. When non-material symbolic "soft resources" are employed to exert influence on others, the final outcome is regarded as soft power, while the final outcome is defined as hard power when material "hard resources" are employed. Therefore, within this definition, soft power can be both cooptive and coercive, and so can hard power. This new definition is useful for countries that are considered to be middle powers which are limited in terms of hard resources, but have the potential to develop soft resources. This paper also categorizes five different types of soft power in accordance with specific soft power goals. They are (1) soft power to improve the external security environment by projecting peaceful and attractive images of a country; (2) soft power to mobilize other countries' support for foreign and security policies; (3) soft power to manipulate other countries' styles of thinking and preferences; (4) soft power to maintain unity within a community or community of countries; and (5) soft power to increase the approval ratings of a leader or domestic support for a government. Categorization of different types of soft power is important because it enables us to think in more strategic and goaloriented terms. The last section of the paper assesses Korea's soft power capacity and potential within this theoretical framework, followed by a few policy recommendations.
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