International Periodical for the Languages, Literature and History of Turkish or Turkic Volume 11/2 Winter 2016, p. 1421-1434
DOI Number: http://dx.doi.org/10.7827/TurkishStudies.9203
ISSN: 1308-2140, ANKARA-TURKEY
Article Info/Makale Bilgisi
Received/Geliş: 28.01.2016 Accepted/Kabul: 10.04.2016
Referees/Hakemler: Doç. Dr. Cenk DEMİRKIRAN – Doç. Dr. Gülin TEREK ÜNAL
This article was checked by iThenticate.
CULTURAL ASPECT CLOSENESS BETWEEN THE COUNTRIES THAT WATCH TURKISH TV SERIES
Yelda ÖZKOÇAK*
ABSTRACT
Television, which makes the world into a global village, can be placed within local, national and global relations while providing individuals with conversation topics of common interest. According to the point of view that supports the cultural effects, television makes individuals, masses and societies close to one another. In this regard, “one world’’ culture approach is attributed to observations on communication, transportation and trade improvements. A different point of view supports the idea that television doesn’t have the same effect on every society. Because cultural interaction differs from society to society and according to the social environment people are in economical situation and cultural background. Gerard Hendrik Hofstede (1983) who has works on national and institutional intercultural interactions pointed in his works that national and regional cultural grouping have effects on the behaviors of societies. When these interactions are taken into consideration, it is thought that foreign countries, which export TV serials, might take cultural aspect into consideration while making their preferences. Because it is a highly likely that individuals will get affected from these productions and find it close to themselves.
In this sense, it was aimed to show the similarities between the countries that watch Turkish TV serials and Turkey’s national culture aspects. 75 countries to which TV serials are exported will be evaluated according to four aspects (Power Distance (PDI), Individualism versus Collectivism (IDV), Masculinity versus Femininity (MAS), Uncertainty Avoidance (UAI)), which Hofstede suggests belongs to culture and cultural aspect closeness between the countries that watch Turkish TV series are examined.
STRUCTURED ABSTRACT
As stated by Fiske, television is still the most popular pastime ever and also it is mass media that it’s a popular cultural medium. Television both shows and shapes contemporary life across the economic, political, social, cultural spectrum etc. For its own purposes television attempts to homogenize this diversity so that the television programs can reach as many different audiences as possible. These variations handle in a constant tension with cultural homogeneity.
Cultural anthropologist Gerard Hendrik Hofstede conducted detailed interviews with employees in 53 countries. Hofstede was able to determine patterns of similarities and differences among the replies, despite standard statistical analysis and also he formulated his theory which all of cultures vary along consistent, basis dimensions. Since his subjects were constrained to one multinational corporation's world-wide employees, and thus to one company culture, he ascribed their differences to the effects of their national cultures. Besides this, Hofstede published a more accessible version of his research in the 1990s. Effects on the behaviors of societies and cultural classifications provide information on cultural characteristics of many different countries, according to Hoftsede. Otherwise, differentiation and assimilation on cultural values have been observed.
All in all television has become the cultural production and TV serials effects thoughts and changes perceptions, and has the power to create an image of people and places that presents coded visuality. So, TV serials are the most popular television program in the world and it has a soothing effect for the audience to see people in serials who think and live like them as well. TV serials, might take cultural aspect into consideration while making their preferences. Because it is a highly likely that individuals will get affected from these productions and find it close to themselves.
The TV serials that structure the dramas viewing experience – between episodes and between one scene and the next, as well as those created by commercial interruptions- become all the more important when one considers the complex network of character relationships formed by the TV serials community. In a sense, TV serials trade narrative closure for paradigmatic complexity These TV serials which are exported occupy an important position for the political approaches of the countries they're shown. Turkish TV serials remain at the forefront of family and society structure that most nations can easily relate to. Even though the codes of the messages presented in the serials do not comply with the codes of the target audience, because of the fact that basic concepts such as love, sexuality, health, money, family are universal, it's suggested that these productions receive appreciation.
Turkish TV serials have imported to many countries and with these TV serials, Turkey's historical, touristic and natural beauties have been introduced to millions of citizens from neighbor countries and touristic attractions of the country have been went up. Serials have took the shape of culture exportation, as well.
Turkish TV serials to receive more admiration in foreign countries, they make universal characters out of local stories. The usage of western elements in local productions helped establish a bond between traditional and modern by blending these elements with Turkish culture codes and helped these serials receive appreciation both in the west-side and east-side of the country. Watching serials that are on air every week and have subject that have continuity influence audience's emotions, thoughts, behaviors, appearance and habits inevitably.
Apart from language resemblance, serials have many common points from geographical and physiognomic similarities to food, gender roles and life styles with the countries, these serials are broadcasted in. Arab audience can find closeness to Turkish serials that they can't find in Western productions. Also, dilemmas between traditional and modern that Western productions can't reflect in their productions don't exist in Turkish serials. Western societies, however, can find family relations, friendship, love relations which are concepts not familiar to them.
In television serials, simple visual signs are achieved similar to universal culture; natural visual codes, on the other hand, are accepted to be special to that culture, and these codes are naturalized. For this reason, audiences living can infer different meaning out of the codes used during the production process because they have different backgrounds and life experiences. In addition to this, they also blend these codes with their own culture, because studies show that cultural dimensions of countries show similarities. As a result of that, even though it can be done unconsciously, the effect of these dimensions can be seen in preferences of the audience.
Keywords: Cultural Closeness, Television, Turkish TV Serials.
TÜRK DİZİLERİNİ İZLEYEN ÜLKELER İLE KÜLTÜR BOYUT YAKINLIKLARI
ÖZET
Dünyayı küresel bir köy haline getiren televizyon izleyicilere, konuşacak ortak bir konu sağlarken, bireyi yerel, ulusal ve küresel ilişkilerin de içine konumlandırmaktadır. Kültüre etkileri üzerine ileri sürülen görüşe göre televizyon bireyleri, kitleleri, toplumları, milletleri birbirine yaklaştırmaktadır. Bu bağlamda tek dünya kültürü yaklaşımı iletişim, ulaşım ve ticaretteki gelişmelere dair gözlemlere dayandırılmaktadır. Farklı bir görüş ise televizyonun her toplumda insanları eşit derecede etkilemediği yönündedir. Çünkü kültürel etkileşim, toplumdan topluma ve insanların içinde bulundukları sosyal çevre, ekonomik durum ve kültürel altyapıya göre farklılık göstermektedir.
Milli ve kurumsal kültürler arası etkileşimler üzerine eserleri bulunan Gerard Hendrik Hofstede (1983) milli ve bölgesel kültürel gruplaşmaların, toplumların davranışları üzerinde etkileri olduğunu çalışmalarında göstermiştir. Bu etkilenmeler göz önüne alındığında
yabancı dizi ihraç eden ülkelerin bu tercihlerinde kültürel boyutları göz önünde bulundurabilecekleri düşünülmektedir. Çünkü bireylerin izledikleri yapımlardan etkilenme, kendilerine yakın bulma olasılıkları yüksektir.
Bu bağlamda çalışmada Türk dizisi izleyen ülkeler ile Türkiye’nin ulusal kültür boyutlarının benzerliğinin ortaya konması amaçlanmıştır. Dizilerin ihraç edildiği 75 ülke Hofstede’nin kültüre ait olduğunu ifade ettiği dört boyuta (Güç uzaklığı- Power Distance (PDI), Bireysellik – Kolektivizm Individualism versus Collectivism (IDV), Erkeklik –Dişilik, Masculinity versus Femininity (MAS), Belirsizlikten Kaçınma Uncertainty Avoidance (UAI)) göre değerlendirilerek Türk dizilerini ihraç eden ülkeler ile Türkiye arasındaki kültür boyut yakınlıkları irdelenmektedir.
Anahtar Kelimeler: Kültürel Yakınlık, Televizyon, Türk Dizileri.
TV Serials and Cultural Closeness
Thanks to mass media, all the information that we need/not need is tried to be conveyed and taught to individuals. The most effective of these tools -used efficiently to meet the needs such as entertainment, news, education, culture- is television.
Television, as a life practice, is considered to be an activity shared by different regions. In addition, it’s reproducing socials norms, models, life styles and individual and collective identities as a resultant of these (Tanrıöver, 2002:93). In this sense; television, which is a cultural, social and industrial tool as well as it is technological, enables intercultural communication in an effective way. Because television has become the biggest “cultural production” tool of our day and it didn’t only improve the lines of daily life experience drawn with time and place restrictions and also caused important changes on of this experience (Özkök, 1982:191, Mutlu, 1991:15).
The diversity of its programs, the quality of having both sound and video elements, the power of effecting society and individuals are what set television apart from other mass media tools. Because television, provides individuals with conversation topics of common interest and place them within local, national and global relations. So, television moves individuals, masses, societies, nations close to one another and it can make culture products reach most distant points. Television camera -most of the time- doesn’t save reality while carrying culture products but make it into a code; this coding produces a reality that is ideological. Effectiveness of this ideology is made possible through visuality of television (Fiske, 2002:31). TV serials that especially appeals to emotions, effects thoughts and changes perceptions, and has the power to create an image of people and places (Busby and Klug,2001 as cited in Yılmaz and Yılmaz,2010) are successful productions that presents coded visuality. In this regard, Allen tells that TV serials are the most popular television program in the world (1992:107).
Television serials are productions that appeal to a more heterogeneous mass of people compared to other program types. The fact that it has a high effectiveness, because entertainment factor is at the forefront and it appeals to different and large mass of people as much as possible; is the quality of television. TV serials, with their long-running structures, on the one hand keep individuals’ learning level high by activating identification mechanisms and on another surrounds personal living spaces completely by moving them to daily-life (Taşkıran,2007:10). Rigel expresses that it has a soothing effect for the audience to see people in serials who think and live like them (1993:19). For this reason, audiences show a tendency to serials that have similarities with their own culture. Modleski (1995) expresses that
TV serials are at the center of people's lives. Because people find serials extremely attractive and try to adapt the characters and incidents of these serials to real life.
When these elements are interpreted together, Yanardağoğlu and Karam (2013) see Turkish TV serials as a type of soft power element and support the idea that Turkish foreign policy and popular culture feed one another correlatively.
The fact that Turkish TV serials have become to be broadcasted on channels of Arab and Balkan countries and become popular way more than it was expected, also has been defined as soft power element and culture exportation. Turkey, while it makes profit out of exportation, it also advertises itself without any cost and begins to makes its life style and cultural values known (Nuroğlu, 2014).
Culture, which is defined as a process that covers information, art, ethics, traditions and such talents and habits humans have gained as a part of a society (Tylor as cited in Soydaş, 2013:31); is confined by the phenomenon of globalization that is defined as societies' resembling to each other on the one hand and on the other hand their expressing their differences and expressing them. That describes concurrent line of action of universality and locality. Culture, when it is considered with the globalization process where certain differences and similarities are created within certain reasoning; is discussed in our day in a platform where meanings are created through 'consumption' (Erbaş, 2000, Sarıbay ve Keyman, 2000, İçli, 2001). Waters, emphasizes on the increase of symbolic exchange between individuals as main factor that accelerates globalization (as cited in Yetim, 2002). In this sense, television is the most important tool that makes intercultural interaction possible. TV serials; which effect the traditions, practices and the definitions of reality of social classes by addressing their needs for existence conditions; play a significant role on transmitting cultural symbols. In intercultural communication, it is seen that these symbols are transmitted through serials that are exported.
Exported Turkish TV Serials
Turkey, thanks to the heritage it possesses, has cultural and historical ties with countries nearby. In this regard, Turkey's relations with other countries don’t only have impact on political and economic fields, but also on cultural fields thanks to the functions of TV.
In Turkey during the years of 1970-1989, the fact that production possibilities were limited, American TV serials, Mexican TV serials -called 'telenovela'- and Brazilian TV series were broadcasted. When translated from Spanish literally, telenovela means “television novel” and it is the name given to Mexican TV serials but these productions are known as Brazilian TV serials in Turkey. In this regard, American soap operas and Mexican telenovela are described as different forms. Although, Turkish TV series are described as telenovela at certain situations; when their general characteristics are considered, they don't have similarities with each other. For this reason, it would be more proper to call local productions “Turkish Serial”.
In 1990s, TV serial sector, which has started to become a market that would change a whole lifestyle other than an activity to pass the time, has become an essential part of culture and amusement sector shaped by capitalist rivalry. The sector has reached a rate of %50-60 in the domestic market and has become the third among the nations that are sharers of local TV serials (Çelenk, 2010:20, Tunç,2010:39). More than 100 local TV serials are broadcasted on Turkish channels. These serials that are broadcasted during day-time/prime-time last for almost two hours and become the main programs of the broadcast steaming after the main news bulletin. The most-watched of the popular TV serials come onto the market in serial-movie festivals/television fairs.
TV serials with important data. According to the report published by Eurodata TV, Turkish serials belong among the most widely-watched serials. Eurodata, which follows 5500 channels in 100 countries and publishes different data related to the sector since 1993; noted that among the most watched 10 TV serials from Turkey, especially in east Europe countries, has gained a remarkable success. Producers, who want their serials to be broadcasted abroad, do give more importance to the production elements than they did in the past; and for the preference of actors/actresses, they take a look on the website http://www.whopopular.com and take into consideration the suggestions of the companies that became too specialized in TV serial sales.
TV serials that are watched with admiration in Turkey occupy an important position for the political approaches of the countries they're shown. Because Turkish TV serials remain at the forefront of family and society structure that most nations can easily relate to. Even though the codes of the messages presented in the serials do not comply with the codes of the target audience, because of the fact that basic concepts such as love, sexuality, health, money, family are universal, it's suggested that these productions receive appreciation.
In the table below, TV serials that are watched with admiration in Turkey and then sold in serial-movie festivals and/or television fairs and the countries who bought them are listed.
Table 1: Exported TV Serials
(Source: Writer) EUROPE AND
THE BALKAN COUNTRIES
MIDDLE EAST AND NORTH
AFRICAN COUNTRIES MIDDLE ASIA
ASIA AND THE PACIFIC COUNTRIES
Asmalı Konak Aliye Acı Hayat Çocuklar Duymasın
Asi Annem Aliye Beşinci Boyut
Binbir Gece Arka Sokaklar Asmalı Konak Büyük Buluşma
Bir İstanbul Masalı Asmalı Konak Beşinci Boyut Hakkını Helal Et
Dudaktan Kalbe Asi Bir İstanbul Masalı Muhteşem Yüzyıl
Ezel Berivan Deli Yürek Sırlar Dünyası
Gümüş Bıçak Sırtı Çocuklar Duymasın Tek Türkiye
Küçük Kadınlar Bir İstanbul Masalı Kınalı Kar Kurtlar Vadisi Çemberimde Gül Oya Kurtlar Vadisi Muhteşem Yüzyıl Elveda Derken Muhteşem Yüzyıl
Unutulmaz Genco Sırlar Dünyası
Yabancı Damat Gümüş Tek Türkiye
Yaprak Dökümü Ihlamurlar Altında İki Aile Zerda Kavak Yelleri
Kaybolan Yıllar Kınalı Kar Kırık Kanatlar Menekşe ile Halil Muhteşem Yüzyıl Sıla Unutulmaz Yabancı Damat Yaprak Dökümü Yersiz Yurtsuz
Table 2: Countries
(Source: Writer)
Panjeta states that (2013) recently in these countries, which Turkish TV serial will be shown during the prime-time has become sort of a debate topic and a competition. In Croatia, Bosnia-Herzegovina and Serbia, TV serials are broadcasted in the evening are broadcasted again during day time. In 2012, TV serials that were most-watched and talked about were Fatmagül'ün Suçu Ne, Hanımın Çiftliği, Muhteşem Yüzyıl, Ezel and Dudaktan Kalbe. In Bosnia-Herzegovina during the years 2012 -2013, Muhteşem Yüzyıl has become the most-watched serial; and both in state and in private channels, Turkish TV serials were broadcasted at least for an hour. Apart from that, Kurtlar Vadisi has received an incredible amount of attention. In Bosnia-Herzegovina, a competition organized by OBNTV to choose two people who most resembles the main characters of Muhteşem Yüzyıl; Sultan Süleyman and Hürrem Sultan. An Istanbul trip was the prize of the competition. There were 300 applications for the competition and it drew a considerable attention in social media.
In the Middle-East, North-Africa and many countries in Balkans; Turkish TV serials have reached millions of people. Through TV serials, Turkey's historical, touristic and natural beauties have been introduced to millions of citizens from neighbor countries and touristic attractions of the country have been increased. And consequently, serials that have started as a good exportation has took the shape of culture exportation (Nuroğlu, 2014).
Turkısh Serıals In Nearby Geography and Cultural Neighborhood at V. European Conference on Social Science
Organization, St Petersburg, Russia – September 11-14, 2014. EUROPE AND
THE BALKAN COUNTRIES
MIDDLE EAST AND NORTH AFRICAN COUNTRIES
ASIA AND THE PACIFIC COUNTRIES
SOUTH AMERICAN COUNTRIES
Albania Afghanistan Azerbaijan Brazil
Austria Algeria Brunei Darussalam Chile
Bosnia and Herzegovina Bahrain China
-Bulgaria Comoros Georgia
-Czech Republic Djibouti Indonesia
-Croatia Dubai Israel
-Estonia Egypt Japan
-France Iran Kazakhstan
-Germany Iraq Korea (South)
-Greece Jordan Malaysia
Hungary Kuwait Moldova
-Italy Libya Northern Cyprus
-Kosovo Lebanon Oman
-Latvia Mauritania Pakistan
-Lithuania Morocco Republic of Cyprus
-Macedonia Qatar Russia
-Montenegro Palestine Singapore
-Netherlands Somalia Tajikistan
-Poland Sudan Thailand
-Romania Syria Taiwan
-Serbia Saudi Arabia Uzbekistan
-Slovakia Tunisia Vietnam
-Slovenia U.Arab Emirates -
-Spain (format) Yemen -
-Sweden - -
-Switzerland - -
-Cultural Dimension Concept and Local Serials
Because of the fact that life standards of societies are not the same, it is natural for their cultures to have differences as well. But even though cultures are different, there are some basic elements that are common. The importance of these elements, however, change from society to society (Soydaş, 2013:38).
Cultural classifications that are created after various studies provide information on cultural characteristics of many different countries. Similar to what Hoftsede'n expressed with “cultural relativity”, it can't be expected for a society's cultural values to be similar to another one. Cultural differences occur in various forms (Soydaş, 2013:56). But cultural imperialism and with cultural closeness as a result of that, differentiation and assimilation on cultural values have been observed. Cinema films and television programs are main factors of this.
Hofstede (1983) who has works on national and institutional intercultural interactions pointed in his works four aspects (Power Distance (PDI), Individualism versus Collectivism (IDV), Masculinity versus Femininity (MAS), Uncertainty Avoidance (UAI)), which he suggests belongs to culture (Seymen, Bolat vd., 2005:161-163, Soydaş, 2013:57-58). A fifth dimension was added in 1991 based on research by Michael Harris Bond, supported by Hofstede. That dimension, based on Confucian thinking, was called Long-Term Orientation (LTO). In 2010, research by Michael Minkov generated two dimensions as Pragmatic versus Normative (PRA) and Indulgence versus Restraint (IND) (Hofstede hasn't touched upon the subject of Pragmatic versus Normative (PRA) dimension in his works yet). Short-term oriented culture has the characteristics of being stable; and a limited point of view that focused on present or past time. Long-term oriented culture is dynamic and has a broad point of view focused on future time. Indulgence stands for a society that allows relatively free gratification of basic and natural human drives related to enjoying life and having fun. Restraint stands for a society that suppresses gratification of needs and regulates it by means of strict social norms (Seymen, Bolat vd. 2005:161-163, http://www.geerthofstede.nl/dimensions-of-nationalcultures).
While researches for these dimensions as part of counties continue to take place; Hofstede Center, which aims at giving an education culture and management based on academic works and practical experiences, was established in 2012. This Center that does various researches and gives education also provides opportunity for the comparison of ratings between Hostede's data and countries' national cultural dimensions (http://www.geerthofstede.nl/, http://geert-hofstede.com/). According to these descriptions, Hofstede has listed countries' cultural dimensions through ratings (courses.csusm.edu/.../Hofstedecorrelations.doc).
When looked at the tables, Turkish society is at high power distance compared to countries on its west side and it is a feminine society that has a tendency to stay away from high uncertainty. It shows relatively communitarian, solidarist and collective behaviors. According to the differentiation used by Hall, Turkey has cultural characteristics that are highly dependent and polychromic (as cited in Soydaş, 2013:86).
Hostede (1983), in his work, stated that Turkish society (he used “Muslim Countries”) stands in the group of countries that show collective behaviors (http://www.geerthofstede.nl/, http://geert-hofstede.com/).
In this sense, “In the countries which has low socio-economic level based on cultural dimension has high power level and collectivist behaviors. For example, in countries such as USA, Denmark, Sweden, Ireland, Holland and Norway avoidance level of uncertainty is low; while in countries such as Turkey, Yugoslavia, Greece, Japan, Latin Europe and Latin America avoidance
level of uncertainty is high. It is indicated that in countries such as USA, England, Holland show a high level of individualistic behaviors; while countries such as Colombia, Pakistan and Taiwan show a high level of communitarian behaviors. In Turkey, Japan, India, Australia and Spain stand between these two behavior types. Masculine culture is defined as coming to the forefront; achieve a considerable degree of success and making money. Feminine culture comprises of giving more importance to human relationships than money, increasing life quality, protecting environment, being helpful, not showing a power play. USA, German, Austria and Sweden have masculine culture characteristics. Turkey, Yugoslavia, Chile, Portugal and France, however, have feminine culture characteristics” (Seymen, Bolat vd., 2005:161-163, http://leadersincrossculturalcommunication).
In this regard, in the next section of the study cultural closeness between the countries in tables and Turkey was attempted to presented. A comparison between 15 countries that were selected among four regions that contains 75 countries randomly and Turkey was made. With this comparison, it was aimed to introduce the similarities between countries that watch Turkish TV serials and Turkey's national cultural dimensions.
Graphic 1: Turkey's cultural dimension rating
(http://geert-hofstede.com/turkey.html)
Graphic 2: Comparisons of Cultural Dimensions with ratings in countries where Turkish TV
serials are broadcasted
(http://geert-hofstede.com/turkey.html)
As it can be seen in the graphics, although countries where serials are broadcasted don't have geographical proximity, it can be observed that they are close in that they at least have two out of six cultural dimensions (differences not being more than %10). Similarities between the regions are maximal in Power Distance dimension and it can be said that these countries have similarities in root cultural sense.
Thanks to dubbing feature specifically, countries that broadcast local serials make it possible for two cultures to be similar by putting their codes verbally to serials. In addition to this, it can be seen that some countries took precautions to restrict the use of foreign languages because of cultural and language interactions. While in some countries serials are broadcasted with subtitles, some countries put a ban on Turkish TV serials being broadcasted without dubbing -for the season that it influences culture negatively-. While verbal interactions are minimized; visual incidents such as food
culture, social happenings, celebrations, birth, death, marriage, life styles and behavioral approaches are introduced to other cultures through serials.
Conclusion
In order for local TV serials to receive more admiration in foreign countries, they make universal characters out of local stories. The usage of western elements in local productions helped establish a bond between traditional and modern by blending these elements with Turkish culture codes and helped these serials receive appreciation both in the west-side and east-side of the country. Watching serials that are on air every week and have subject that have continuity influence audience's emotions, thoughts, behaviors, appearance and habits inevitably.
Apart from language resemblance, serials have many common points from geographical and physiognomic similarities to food, gender roles and life styles with the countries, these serials are broadcasted in. Arab audience can find closeness to Turkish serials that they can't find in Western productions. Also, dilemmas between traditional and modern that Western productions can't reflect in their productions don't exist in Turkish serials. Western societies, however, can find family relations, friendship, love relations which are concepts not familiar to them.
In television serials, simple visual signs are achieved similar to universal culture; natural visual codes, on the other hand, are accepted to be special to that culture, and these codes are naturalized. For this reason, audiences living can infer different meaning out of the codes used during the production process because they have different backgrounds and life experiences. In addition to this, they also blend these codes with their own culture, because studies show that cultural dimensions of countries show similarities. As a result of that, even though it can be done unconsciously, the effect of these dimensions can be seen in preferences of the audience.
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Citation Information/Kaynakça Bilgisi
Özkoçak, Y. (2016). “Cultural Aspect Closeness Between the Countries That Watch Turkish TV Series / Türk Dizilerini İzleyen Ülkeler İle Kültür Boyut Yakınlıkları”, TURKISH STUDIES -International Periodical for the Languages, Literature and History of Turkish or Turkic-, ISSN: 1308-2140, (Prof. Dr. Hayati Akyol Armağanı), Volume 11/2 Winter 2016,
ANKARA/TURKEY, www.turkishstudies.net, DOI Number:
