Üsküdar University Faculty of Communication held the second of its Communication Training Seminars for Society, organized to share its scientific knowledge with the public. In this context, Assoc. Prof. Dr. Esennur Sirer, Head of the Radio, Television, and Cinema Department, met with participants with her presentation titled “Reading Turkish Series: Cultures and Representations.” Sirer emphasized that the fundamental power of series comes from storytelling, stating that television and digital platforms have transformed into the storytellers of the modern age. Sirer stated that Turkish series offer a fairytale world where capitalist modernity and feudal elements are intertwined, also drawing attention to the contributions of series to the country's economy. Sirer said that Turkish series, exported to 170 countries, create both a cultural and emotional impact, and that this situation is an important indicator of Turkey's international soft power.
Üsküdar University Faculty of Communication held the second of its Communication Training Seminars for Society, implemented within the framework of its social contribution and science communication mission.
The online program once again attracted significant interest.
“The fundamental power of series comes from offering a story to the audience”
Assoc. Prof. Dr. Esennur Sirer, Head of the Radio, Television, and Cinema Department, emphasized the high television viewing habits and stated that the fundamental power of series comes from storytelling. Sirer said; “According to the data from the Television Audience Measurement Committee, a significant portion of television viewing habits in Turkey consists of series. Among all genres, the viewership rate of series is quite high, at 29%. This indicates that in Turkey, series are watched for an average of 1 hour and 44 minutes daily, almost two hours. Today, when platforms are mentioned, digital broadcasting platforms such as Netflix, BluTV, and Puhu TV often come to mind. However, the concept of a platform is not limited to these; television is also a platform, and so is the internet. Television has content broadcast daily, commonly referred to as soap operas. The fundamental power of series, however, comes from offering a story to the audience. There has been a tradition of storytelling since the earliest periods of humanity. People love both telling and listening to stories. In the periods of oral history, storytellers would blend their own experiences and information passed down to them, making the audience part of this experience. The magic of storytelling originated precisely from this shared experience. Over time, this oral tradition was transferred to written culture, namely novels. In the written tradition, stories were moved to a more subjective realm of experience. Then, with the advent of cinema and television, the modern storyteller largely became television. Thus, television gained a powerful and central position in story transmission.” she stated.
“Television and digital platforms have become the storytellers of the modern age”
Stating that stories are emotionally and intellectually nourishing, Sirer said; “What we call a story is actually a magic and a fundamental need that fills many areas in human life. Most of the time, we need a story because stories nourish us both emotionally and intellectually. Sometimes we get annoyed with children and teenagers because it can take time for them to develop their ability to construct a larger and more coherent story. They create small, fragmented stories, but the ability to produce a comprehensive story is a skill acquired over time. Storytelling is a strong tradition passed down from generation to generation. Today, this tradition continues through visual media and screens; television and digital platforms have become the storytellers of the modern age. So, why are these stories so important? Because stories make people feel they are not alone. The viewer becomes a part of the narrated story, identifies with the characters, and re-experiences the meaning of life through this representation. Sometimes it satisfies our curiosity, other times it turns into an activity we use to pass our free time. However, in every situation, stories continue to be a powerful tool that touches human existential needs.” she stated.
“Television series offer a fairytale life”
Stating that patriarchal culture is dominant in series, Sirer said; “Television series offer a fairytale life. When we look at these productions, we see the patterns of both capitalist modernity and the feudal system together. The main reason these two contrasting structures are brought closer together in series is to ensure that the story appeals to all strata of society. Content producers want to reach every viewer, from 7 to 77. Therefore, the world they create is kept broad enough to draw everyone in. For this reason, a large portion of series are broadcast during Prime Time. Prime Time is the period that starts after the late news and lasts until midnight, which has the highest viewer density. Series, which keep viewers on screen with long episodes of approximately 120–140 minutes, carry significant viewership potential in this slot. On the other hand, thanks to continuous viewing habits on digital platforms and social media, users devote several hours daily to series content. What do we see in this fairytale world? In most series, we encounter female characters living in mansions, dressed modernly but leading a traditional life. Although it may seem contradictory at first glance, a modernly dressed woman living within a feudal order is actually part of the common ground that content producers aim to create. Luxury cars, magnificent dining tables, large family structures… All these elements represent an idealized life where everyone can find a piece of themselves. Foreign experts refer to this structure as the ‘Turkish touch.’ In most Turkish series, the patriarchal model is prominently featured, and the authority of the head of the family is highlighted in most scenes. This is considered one of the most characteristic features that constitute the cultural identity of Turkish series.” she concluded.
“Turkish series make significant contributions to the country's economy”
Sirer also noted that series contribute to regional development; “These contributions need to be evaluated not only specifically for Turkey but also on an international scale. The development of the series sector in Turkey both revitalizes the domestic market by increasing goods and services sales and supports the development of regions in a sectoral sense. Furthermore, export revenues obtained from selling series to different countries make a significant contribution to the economy. The use of locations in series is also an important element. Wide-angle shots, city skylines, and symbolic locations are frequently used. Especially Istanbul is one of the cities most featured in Turkish series. Istanbul's romantic atmosphere, cultural diversity, and aesthetic appearance both enrich the story and contribute to the city's vibrancy. Film and television media are also seen as a space for creating a common identity and spending time together. Throughout a series, viewers experience the living spaces of characters across a wide geography, stretching from Istanbul to Adana, from Mardin to the Black Sea region. This both feeds curiosity and allows for new stories to be built through locations. As a natural consequence of this situation, many regions revive and begin to attract tourists thanks to series.” she stated.
“We touch both culturally and emotionally”
Emphasizing that cultural influence transcends borders, Sirer said; “Today, Turkish series are exported to 170 countries. This shows that we can touch people on the other side of the world both culturally and emotionally. Through series, we achieve economic gains and offer a multifaceted contribution to our country by revitalizing tourism. We can fully evaluate this situation as a win-win model. This impact is defined as ‘Soft Power’ in international literature. It means a country creating influence and gaining visibility worldwide through its cultural products. What is important here is to realize that we have such power and to act consciously. There are striking examples of how effective this power is. For instance, at one point, due to the high ratings of the series ‘Adını Feriha Koydum’ (I Named Her Feriha), the rate of newborn babies being named ‘Emir’ significantly increased in Turkey. This increase was clearly visible when population data was examined. Similarly, we know that Turkish names are used abroad, influenced by Turkish series. The widespread use of names like Onur Juan Jose, Wilson Kemal, and Salvana Mustafa in Paraguay today shows that cultural influence transcends borders and extends into social life. Such examples are extremely valuable and a source of pride in demonstrating how Turkey leaves its mark on the world through cultural products.” she concluded.