The Emergence Of Turkish Television Drama Sector as a “Geo-cultural Market”

TitleThe Emergence Of Turkish Television Drama Sector as a “Geo-cultural Market”
Publication TypeConference Paper
Author(s)Tüzün, S.
Affiliation (1st Author)Marmara University, Communications Faculty
Section or WGInternational Communication Section
DateThurs 27 June
Slot CodeINCT4b
Slot Code (Keyword)INCT4b
Time of Session16:00-17:30
Session TitleThe Emergence of Turkish Television Drama Sector as a ‘Geo-Cultural Market’
Submission ID7146

"Despite long-lasting unequal flows and structuralinequalities between nations regarding the flow of images, one of the markers of globalization is the ease the images circulate around the world. Some scholars argue that in the current media environment which is characterised by media flows, it is no longer possible to sustain the notion of Western media domination. For instance, in the context of Latin American media, Joseph Straubhaar(1991,1997) developed the concept of “asymetrical interdependence” as an alternative to cultural imperialism thesis, observing the development of national & regional markets in the non- western countries. The theory of cultural proximity describes the way audiences tend to prefer national or regional programming over imported competing programmes. In harmony with the theory of “cultural proximity”, the audience preference for domestically produced television dramas is evident in Turkey. A local industry which can produce television dramas by itself, and export them to the neighbouring countries has emerged. Whats more it is now a fact that Turkey has become the major exporter of television dramas in its region, comprising Central Asia, Middle East and the Balkan Peninsula. By the year 2011, Turkish serial dramas are exported to more than 20 countries, and the export revenue in total has reached to 60 million dolars. Besides their commercial success, the local television dramas are seen by many to be the means of spreading “Turkey's values and lifestyle” through the Middle East and North Africa, exerting a sort of ‘soft power’ that is to the advantage of Ankara's diplomatic ambitions. This paper aims to question the rise of Turkish television drama sector as a “geo-cultural market”, and explore the probable dynamics of it. Interviews with different actors of the sector will be conducted throughout the study. "

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