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Turkish tv series (diziler)

Les séries télévisées turques (diziler)

Production, representations and reception in the Mediterranean

Production, représentations, réception en Méditerranée

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Published on Thursday, December 05, 2013 by Julie Abbou

Summary

Le développement et le succès des séries télévisées turques constitue un phénomène en Méditerranée depuis la fin des années 1990. Les genres se sont diversifiés, le secteur « fiction » des chaînes turques s’est enrichi de dizaines de nouveaux titres, le budget alloué aux séries a considérablement augmenté, et leurs caractéristiques techniques ainsi que les performances des acteurs ont gagné en qualité. D’abord essentiellement représentées par des formats de type « soap » tournés en studio, les séries turques ont commencé à être tournées dans la rue ou dans d’immenses décors en plein air fabriqués sur mesure. D’abord circonscrit à une audience nationale, le phénomène a maintenant conquis un public au niveau régional : les séries turques s’exportent désormais au Moyen-Orient, au Maghreb, dans les Balkans et en Asie centrale toujours demandeurs d’alternatives aux productions états-uniennes ou européennes devenues trop chères, ou aux telenovelas parfois éloignées de certaines références culturelles locales.

Announcement

International colloquium organised by CNRS-LCP-S.E.R.I.E.S. / INALCO-CERLOM / Université Paris 8- JILC / IFEA

The conference will be held on 17-18 October 2014 at La Femis - Paris (France)

Argument

The development and success of Turkish television series have been a phenomenon in the region of the Mediterranean since the end of the 1990s. New genres have appeared. Entertainment divisions of  the Turkish channels have increased their budgets and purchased numerous new series. The quality of technical characteristics as well as acting performances have improved considerably. At the beginning, mostly soap operas, shot indoors, the Turkish series then began to go to location and construct elaborate outside decors. Limited originally to national audiences, the phenomen has now conquered a wider public in the region of the Mediterranean : Turkish series today are exported to the Middle East, North Africa, the Balkans and Central Asia, all eager to receive alternatives to American or European productions, having become too expensive, or to the telenovelas, often too foreign to local cultural references.

Two major observations have promoted this conference. First, research on Turkish series is too often the work of isolated scholars who would benefit from international exchange and coordination. In addition, television studies have neglected Turkish series and more attention must now be paid to these productions. In order to meet these needs, scholars are invited to study this multifaceted phenomenon, concentrating on three main angles: the socio-economic conditions of the production of Turkish television series, the representations and values of Turkish society conveyed through them and, finally, the reception of the series by both Turkish and foreign audiences. Hopefully, the conference will make it possible to confront different approaches in order to further the knowledge of these series as productions of popular culture, as works of fiction as well as commercial objects, as mirrors of society, even if sometimes deforming that society, as suggestions for changes, taking also into consideration market constraints and requirements and finally the issue of censorship.

Topic 1. The production of series subject to numerous constraints : audiences, markets, policies

The process of liberalisation of the media has created conditions which have led to the emergence of a huge number of competing generalist channels. It has therefore become necessary to increase content on a massive scale in order to fill their programming schedules.

  • How are the series produced in Turkey (location, shooting, casting, the role of scriptwriters; etc.)?
  • What is the relation between the production of Turkish tv series and advertising : How are audiences rated in Turkey and what is their influence on production conditions?
  • What constraints (cultural, economic, political) weigh upon the production of series and how do they affect production conditions?
  • How are Turkish series broadcast in foreign countries (quotas, language, time slots, etc.)?

Topic 2. The ‘imaginary’ inspired by Turkish series, representations, symbols and taboos:

The series often show Turkish society in a positive light. At the same time, they reflect and initiate conformist attitudes.  This line of analysis should focus on these images giving spécial (but not exclusive) attention to the following elements :

  • How is History, both Ottoman and recent, treated in Turkish series? For example, communications would be welcome on Muhteşem Yüzyıl or a comparison with the competing series produced by Samanyolu Channel or on the treatment of recent history (especially the 1970s).
  • How are social and political taboos handled, for example minorities, homosexuality, domestic violence or corruption (consider series such as to Behzat Ç., Kayıp Şehir among others)?
  • What is the role of comedy series with respect to government and Turkish society; the influence of theatre and of the absurd in comedy series (for example, Yalan Dünya, Avrupa Yakası, Leyla ile Mecnun, etc.)?
  • How have US series been adapted into national versions (for example Umutsuz Ev Kadınları, the Turkish version of Desperate Housewives)? What is the influence of Turkish literature and cinema on the series or vice versa?
  • On a wider scale, how have the city of Istanbul or the diversity of geocultural space in Turkey been represented?

Topic 3. Reception of the series in Turkish society and in their different regional environments:

The question of reception of Turkish series in foreign countries gives rise to several fantasies: from the « myth » of Yabancı Damat (The foreign son-in-law), a love story between a Turk and a Greek which is said to have improved Turkish-Greek relations, to the rumor according to which Arab women, fans of Kıvanç Tatlıtuğ in Gümüş, began suing for divorce because they wanted a respectful and caring husband like the hero of the series. Numerous legends deal with this, but few serious studies exist on these subjects. Possible angles include:

  • What are the viewing practices of audiences in countries where these series are imported (frequence, genre, demographics, number of series watched compared to local productions, viewing conditions - alone or with family members, etc.)?
  • What are the viewing practices of Turkish immigrants in Europe? Are they specifically targeted by certain series? Which series are watched the most in Europe?
  • Have the Turkish series contributed to giving a better image of Turkey in its region? Have they contributed to relieving tensions between Turkey and its neighbours?
  • Have the Turkish series contributed to changing mentalities in the conservative countries where they are broadcast? Do the themes dealt with and the manner in which they are handled correspond to the expectations of foreign publics?

 Calendar

Deadline for proposals:  15 February 2014

Responses will be sent to authors at the end of March 2014.

How to submit

Proposals (approximately 450 words) in French or English, with a brief bio-bibliography have to be submited on the dedicated website of the event : http://tvseries-turkey.sciencesconf.org/

The chosen presentations must be submitted at the beginning of the conférence. Presenters are required to allot 3-4 minutes for the projection of video extracts, which must be translated either as subtitles or orally.

Scientific committee

  • Faruk Bilici | PU - INALCO-CREE
  • Ben Fortna | SOAS
  • Béatrice Garapon | AMN - EHESS/IEP Bordeaux
  • François Georgeon | DR - EHESS
  • Sarah Hatchuel | PU - Université du Havre-GRIC
  • Janet McCabe | Birbeck, University of London
  • Julien Paris | pensionnaire scientifique - IFEA
  • Stéphane Sawas | PU - INALCO-CERLOM
  • Hülya Uğur Tanrıöver | Université Galatasaray
  • Isabelle Veyrat-Masson | DR - LCP-CNRS
  • Barbara Villez | PU - Université Paris 8-JILC

Contact and information: tvseries-turkey@sciencesconf.org

Places

  • La Femis - 6 rue Francoeur
    Paris, France (75018)

Date(s)

  • Saturday, February 15, 2014

Keywords

  • series Tv, Turquie, Méditerranée, diffusion, production, réception

Contact(s)

  • Isabelle Debano
    courriel : isabelle [dot] debano [at] dauphine [dot] fr

Information source

  • Isabelle Debano
    courriel : isabelle [dot] debano [at] dauphine [dot] fr

To cite this announcement

« Turkish tv series (diziler) », Call for papers, Calenda, Published on Thursday, December 05, 2013, https://calenda.org/267116

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