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DESIGNED, PRINTED BY 

G.M. Matbaacılık ve Ticaret A.Ş. 

Tel: (212) 629 00 24-25 Faks: (212) 629 20 13 

www.goldenmedya.com.tr

Assoc. Prof. Hülya Uğur Tanrıöver 

Assoc. Prof. Hülya Uğur Tanrıöver, Galatasaray University, Faculty of 

Communication, Department of Cinema, Manager of Media Studies Research 

and Application Center (MEDIAR). She does researches on film theories, 

sociology of cinema and TV, audience reception theories and gender studies. 

She has many scientific publications in fields such as cinema industry in 

Turkey, TV culture, representation of women in media and cinema. Besides her 

academic studies, Uğur Tanrıöver who is active in cinema and TV fields, 

working in positions such as consultant and TV host, is engaged actively in the 

struggle against genderism. For more information: http://www.gsu.edu.tr

...................................................................................................... 9 

7 

................................. ll

7.2. Game shows ....................................................................................... 67 

7.3. Women-targeted showson daytime TV ............................................. 69 

7.4. News and Debate shows ..................................................................... 70 

8. The main fınancial source of TV B roadeasting : Commercials and 

spansorship .................................................................................................... 73 

9. Television viewing practices and audi en ce characteristics ........................... 83 

10. Objectives and expectations in TV broadcasting ........................................ 91 

Bibliography .................................................................................................... 103 

Other ................................................................................................................ 106

strength 

occurrence of purchasing 

,..,,.,.,,..... +~ .... T has the 

o ur

the journal named "The position of Film Industry in Turkey and Its Targets" 

which has been published before by Our Chamber will be the broadest studies 

of the sector. 

This study has been prepared in order to follow the changes in social, 

economical and cultural structure of Turkey and form the basis for the people 

who will do research about Turkish Television, specialists who will determine 

the cultural policy and foreign producers who want to do business especially 

with Turkish producers and develop the attempts in this respect. 

With regard to this, I thank to Associate Professor Hülya Uğur Tanrıöver 

and her team who does this research named "Television Broadcasting in 

Turkey", w hi ch indi ca tes the development of Turkish television broadcasting 

from the beginning until taday and required to be evaluated together with 

cinema seetar which is a strategic industry and I wish it will be useful for our 

members and relevant persons and organizations. 

Dr. Cengiz ERS UN 

Secretary General

Today Turkish TV series which have become an important element of, not 

only TV but also of cinema industry are one of the common values of society. 

These productions are exported more and more frequently to different countries 

and Turkey is considered to be similar to Brazil of a certain era in this context. 

TV series are not the only productions that are exported. Many original TV 

shows or game shows outlast their success in numerous countries from Italy to 

China. 

İstanbul Chamber of Commerce who takes heedof key industries in our 

country contributes largely to the development and marketing of this field by 

supporting this m uc h needed study on TV broadcasting. W e would like to 

mention Dr. Ayşe Toy Par and R.A. Ece Vitrinel of Galatasaray University 

Faculty of Communication for their intensive contribution and R.A. Barış Kara 

for his support. W e would like to thank them and Ms. Mü ge Özen, Mr. Zafer 

Çeler, Ms. Hatice Bakanlar who translated this study to English. 

This study which aims to present a general panorama and to share some of 

the existing literature and sources on the discussed subjects is descriptive by its 

definition. Certainly, it will be benefıcial to conduct fresh and more extensive 

studies in this field to produce authentic datas. 

Assoc. Prof. Hülya UGUR TANRlÖVER

were ._..._.,JIJ'-"" .... "''-' .... ~ ........ 

countries 

these technologies 

developed, TV broadcasts have a tardive start. attempts of broadcasting 

953 University; 

absence of a transmitter, broadcasts were restrained 

public broadcasting was enabled by of 

broadcasting 

It is possible to 

histarical "~uu.ı"""· 

no.210, Ankara, 1989.

12 İSTANBUL CHAMBER OF COMMERCE 

Similar to the BBC model that was used in the country as an example by 

the supporters and executives of this attempt, the first years of TV broadcasting 

in Turkey are defined by public broadcasting. The primal objective is to offer to 

the public the news with sound and image, educational and inforınative content 

via this new technology. The very essence of this approach which prioritizes 

public service is the execution of TV broadcasts by an autonomous institution 

in a politically impartial manner. However, as seen on the table below which 

show s the important mo men ts in Turkish television history, Turkish Radio and 

Television Corporation' s (TRT) principle of autonomy was abrogated in 1971 

during another military intervention, preserving only the principle of 

impartiality. 

The 70s, the decade in which audiences really got acquainted with 

television, represent also a one-channel system period producing content in 

accordance with state monopoly. Although the broadcasting hours had 

increased, seven days a week broadcast had started and reaching all parts of 

Turkey was planned; a widespread access could not be maintained due to 

technical and socio-economic problems. 

Nevertheless, when analyzed sociologically, it is observed that, even ın 

those years when not every household passessed a TV, nearly everyone had 

already become aTV viewer, and that the seeds of "TV culture" which would 

take shape 40 years later, were planted at those times. The interest of public in 

this medium even in its first years can be explained by the attachment of the 

public to preceding visual culture products, especially to cinema. Asa matter of 

fact, the particular intere st of viewers in TV dramas is a strong indication of the 

transitivity between these two mediums and of the transformatian of TV series 

to an independent "social fact" today. In its first years, TV has also been an 

instmment of intensive socialization. In those times when the level of 

equipment was poor at households, it was a common practice to visit families 

who had TV on days that important shows were on and to watch the show 

question with them. "Tele-visiting" has triggered coınmentaries about the TV 

shows, arguments that were linked to subjects discussed on TV and also has

TURKISH TELEVISION BROADCASTING 2011 

an era limitations on 

name of public broadcasting caused serious problems

ı 4 

İSTANBUL CHAMBER OF COMMERCE 

accordance with the governınent ideology: belly dancing, "arabesque" 3 which 

was the most popular local music genre, some of the popular comedy films 

which were considered inappropriate because of the slang expressions they 

have contained although were applauded during their release in theatres, were 

among the programs that were banned. 

As will be seen in the reıated c hapter bel o w, during the reign of Ozal 

governınents 4 , which processed towards a normalization period after the coup 

d' etats and towards the implementation of liberal economy, legal regulations on 

TV broadcasting area have commenced. During this period in which state 

monopoly stili persisted, TRT has first started broadcasting on a second 

channel, and then on a third one which focused on local broadcasting targeting 

South Eastem regions. However, it was obvious that the expectations of the 

viewers could not be fulfilled by TRT. Turkey's first private (commercial) TV 

station Magic Box, although illegal, has started its broadcasts from abroad in 

ı990 by the help of satellite technology. This new channel, which was not 

bound by the existing legal structure in the country, became the hotspot of 

audi en ce s with the diversified altematives of programıning it had offered. 

After 30 years of state monopoly, TV has formed one of the privileged 

areas for private entrepreneurs. 

So m uc h that, Turkey w as introduced to ı O different new channels within a 

few years in 90's; the competition between the TV channels has nourished the 

search for new formats and contents and also has accelerated the growth of 

advertising industry and even of the communication industry in general. This 

actual (de facto) situation has generated the need for legal regulations in TV 

For a sociological study on arabesque music cf. Meral Özbek, "Arabesk Culture: A Case of 

Modemization and Popular Identity", in Rethinking Modernity and National Identity in Turkey, 

Sibel Bozdoğan and Reşat Kasaba (eds.), Chapter 12, University of Michigan Press, 1997. 

http://library.northsouth.edu/Upload/Rethinking%20Modemity.pdf, 01.08.2011 

Turgut Özal was PrimeMinister of Turkey between 1983-1989 and eighth President of Turkey 

(1989-1993). He is known by his liberal economic views and by paving the way for the 

privatization of state enterprises.

TURKISH TELEVISION BROADCASTING 2011 15 

area. 

on 

on 

1964 

1981 

1986 

1989 

Radio and TV 

station started its 

First broadcast in color was actne"ired NewYear's 

New TRT Law No. 2954 was acc:ep1cea. 

TRT 2 started its broadcasts. 

Cable TV bro:adc:ıstuıg 

TRT 3 and first channel ınt~encled to local viewers TRT GAP 

their broadcasts. 

The fırst 

Box started 

1992 

1994 

1992 

1993 

reg;uı~mo~n 

TAM TURKEY the audience measurement 

m eter 

that abolished the state mcmopoJlY over radio and .TV 

Broadcasts", 

1996 First thematic news cha.nm~ı, 

TV agreement

1 8 İSTANBUL CHAMBER OF COMMERCE 

Montly Time Turkish Population Spent on Cultural Activities (Hrs) 

• Total • Ma le • Female 

87,486,588,4 

0,70,70,7 1,31,11,5 0,60,60,5 1,41,41,4 

7,7 9 6,4 

0,60,50,7 0,30,20,4 

Cine ma Radio Television Video Listening to Written Music and Other 

and media and performing cultural 

recording books arts shows field s 

mu sic 

Source: TURKSTAT (2006), http://www.tuik.gov.tr 

Today Turkey is one of those countries that TV broadcasting is roaring ın 

terms of number of broadcasters and programıning diversity. All with different 

technical facilities, sorne with a nationwide and others with local network access, 

the total number of TV channels is 475. 

Tab le 2 - The Number of TV B roadcasters 

Features 

National 24 

Region al 15 

Lo cal 210 

Cable 78 

Sa tellite 148 

TOTAL 475 

Number 

Source: http://www.rtuk.gov.tr

TURKISH TELEVISION BROADCASTING 2011 19


TV reaches 98% of the Turkish population. In this diversified broadcasting 

system where the viewers can choose the channels they like according to their 

tastes and needs, there is a very strong competition between the TV channels, 

as will be discussed in the relative chapter. 

W ith the emergence of new mediums in the past years, the advertisers are 

now obliged to allocate their advertising budgets and this situation pushes TV 

stations, like everywhere else in the world, to try new ways in order to attract 

the attention of the audiences. High viewing shares are the primary trump that 

TV channels use to persuade advertisers. 

In Turkey, TV viewing shares are being measured by an electronic "people 

meter" system since the 1990s, in other words since the first years that 

commercial TV channels started broadcasting and increased the total number of 

TV stationsin the country. Until2010, the scrutiny that this system required is 

executed by Nielsen TAM Turkey (Nielsen Television Audi en ce Measurement 

Turkey). This system imposes a syndicated research model which works with 

nearly 3.636 "people meters" in 2500 households all over Turkey and makes 

projections about the Turkish population over 5 years of age based on viewers' 

TV viewing habits. The system is financed by the member institutions and it 

puts the detailed data into the service of financers. This measurement system is 

criticized for i ts various aspects such as i ts application method ( technical 

difficulties, the criteria of family selection), segmentation of some categories 

( especially socio-economic segments) that are us ed to present the results and 

ethical inquiries ( financially aiding the participants un der the name of gifts) 7 . 

As a result of these criticisms, TIAK. 8 (Television Audience Surveys 

Corporation), which was initially founded under the name of "Television 

Viewing and Re search Committee" in 1992 by advertisement corporations and 

advertisers, has decided to call for tenders in 201 O for this measurement in 

These kinds of critics are not specific to Turkey only. For a general presentation ofmeasurement 

methods anda study on European examples c. Jean-Michel Brignier vd., Mesurer l'audience des 

medias, Ed. Dunod, Paris, 2002. 

http:/ /www. tiak. com. tr


measurements 

51.2 

than 100% s ince each ""''.,-1"'"''"",'"'~- can 

more than one answer to each qw~stıon.


These data gathered by face-to-face survey methodology is reaffırıned by 

the data obtained via people meter ( electronic audience measurement) system. 

The difference between the percentages stems from the difference between the 

measurement/ survey methods; but the ranking among the most popular 

channels stays the same, as can be seenin the table below. 

Tab le 4 -Most popular TV channels according to viewing shares 

Channel % 

D 14.0 

SHOW TV 10.6 

ATV 9.9 

STAR 8.6 

FOX 8.1 

STV 5.7 

Source: Mindshare, 2010 (2009 data) 

The RTSC research asked the subjects which channels they would prefer if 

they had to watch just one channel. The result shows that the fırst two ranks do 

not change, but it is interesting that TRT channels rank third. 10 

10 

It is a methodologically controversial interpretation to reduce numerous TR T channels to one 

single unit and compare it with other singular channels .


5 you were would 

Channel 

17.3 

Source TV 

RTSC


gain the terrestrial digital TV multiplex capacity allowance right 11 in the call 

( according to the ir rank in the call and the ir analogue channel capacity and as 

long as they pay the annual frequency fees) will als o be given the right to 

analogue broadcast along with digital broadcast for two years at most. 

However, following two year period after the allowance analogue terrestrial TV 

broadcasts are going to be abrogated all over the country. That is to say that by 

2015, the only terrestrial broadcasting format in Turkey will be digital (DVB 

T). 

Narroweasting 

Narroweasting in Turkey began in 1988 with the foundation of Kablo TV, 

an affiliated corporation ofTurk Telekom., Kablo TV was detached from Turk 

Telekom after the decision to privatize the latter, and became an affıliate of 

Türksat A.S. Türksat Kablo TV fumish services in 2ı cities and has about 1 

million 275 thousand subscribers. 12 The number of TV channels which 

broadcast solely via cable TV is 78. 13 

The transition period of narroweasting to digital began with the digital 

broadcasting Turksat started in 2008 in ı 7 cities with 8 channels, first ones 

being TRT channels. There are now ı27 TV channels, ı2 of them being HD 

and ı 15 of them being SD, on this platform called Teledünya which uses the 

infrastructure of Kablo TV that does not require a dish antenna. 14 

ll 

12 

13 

14 

According to the Ciause 3rd of RTSC Law No. 6112, "multiplex", signifies the method used to 

unify numerous terrestnal broadcasting services in one or more signals; "multiplex capacity" is 

the capacity within the multiplex that is reserved for the transmission of a digital broadcast for 

VHF, UHF or FM radio frequency bands, terrestrial TV or radio broadcasts. 

Ceren Sözeri, Zeynep Güney, ibid. 

Declaration ofRTSC President Prof. Dr. Davut Dursun: 

http://www.rtuk.org.tr/sayfalar/IcerikGoster.aspx?icerik_id=5605f266-84ca-4328-90db- 

2b53ab31515b 

Türksat, http:/ /www. turksat.com.tr/content/view/122/2 14/


15 

16 

17 

18 

T.C. Başbakanlık Devlet Planlama Teşkilatı, Dokuzuncu Kalkınma Planı, "Bilgi ve İletişim 

Teknolojileri Özel ihtisas Komisyonu Alt Komisyon Raporu", Ankara 2007 

www.dpt.gov.tr/Doc0bjects/Download/3201/oik696.pdf 

Declaration ofRTSC President Prof. Dr. Davut Dursun: 

2b53ab31515b 

6c3d295ca079


broadcasting has decreased by half while the number of households which 

prefer digital is multiplied by 3,5. 19 

Tablo 6 - Broadcast receiving forms in households (% 20 ) 

2005 2006 2007 2008 2009 2010 

Terrestdal 77 63 55 47 42 36 

Cable ll lO 8 9 8 8 

2.2.4. Internet Protocol TV (IPTV) 21 

21 40 51 60 68 72 

Source: Nielsen, TV Annual 201 O 

The ground work Internet based TV broadcasting started in 2008 and after 

a trial period of ı,5 years, TTNET, the internet affiliation of Türk Telekom 

launched Turkey' s first and only IPTV platform called IPTivibu in three 

metropolis in September 20ı0. Even though the platform did not do any 

advertising, it has reached 5.000 subscribers by the end of 20ı0. In February 

20 ı ı, it changed i ts name to Tivibu Ev (Tivibu Home) and ıaunched a major 

advertising campaign. Its target is to reach over 20 thousand subscribers by the 

end of20ı 1. 

The two prerequisites that enables the purchase one of three subscription 

packages of Tivibu Ev, which offers a total of ıo6 channels 53 of them being 

19 

20 

21 

''Nielsen TV Yıllığı 2010- Hanelerde Sahiplik ve Yayın Alma Şekilleri" 

http:// smgconnected.com/tv-yilligi-201 O-hanelerde-sahiplik-ve-yayin -alma-sekilleri 

The total percentage is over 100%, s ince the transmission method within a household can vary 

(for example cable and terrestrial at the same time). 

The informationusedin this seetion is taken from Ertuğrul Acar, "Türkiye IPTV 2010 Raporu", 

March 2011. To read the report: http://iptv.org.tr/iptv/?page_id=264

TURKISH TELEVISION BROADCASTING 20 ll 2 7


in every two years. The Supreme Council members shall elect a president and a 

vice-president among i ts members. The term of Presideney is two years. " 22 

The main function of RTSC is to allocate channels and frequency bands, to 

verify the compliance of broadcasts with the provisions of the law and to decide 

on the relevant sanctions in cases of violation. R TSC is entitled to make the 

decisions in many vital fields for today' s b roadeasting such as the regulation of 

advertising breaks, prevention of capital concentration of ownership and 

conducting public opinion surveys in order to collect the necessary data of 

broadcasting. 

The experience gained by the practices in the past years, the need to make a 

change in the law regulating the TV broadcasts arose and The Law on the 

Establishment Radio and TV Enterprises and Their Broadcasts No. 6112 was 

adopted on F ebruary 15th, 201 1 and cam e in to effect in March 20 ll. 

The most important changes that this law brings can be summarized up as 

the following 23 : 

The share of foreign capital in one private radio or television enterprise is 

increased from 25% to 50%. 

The advertising of over the counter medicines is allowed. 

The TV stations are allowed to broadcast 12 minutes of advertising at most 

for each one hour broadcast. This way the channels can give advertising 

breaks every 20 minutes can broadcast 12 of advertising 

total. This period of 12 minutes in an hour's broadcast can be used as 

wished. So channels, instead of broadcasting advertising every 20 min u tes 

as it was foreseen by the form er law, they can broadcast it whenever they 

like as long as it does not exceed the 15% of the daily broadcast. 

22 

23 

http:/ /www .rtuk. gov. tr 

"Yeni RTÜK Kanunu Neler Getiriyor?", 16.02.2011, http://www.ntvmsnbc.com



Today, TRT owns ıs channels, each one of them being different than the 

other in terms of content, language, co verage area and target audi en ce (so me of 

the thematic channels contents are broadcast on the same channel altemately). 

Among the se channels, the mostly mentioned is TR T 6 (TR T "Shesh"), the 

first TV channel in Turkey to broadcast in Kurdish which was launched on 

J anuary 1 st, 2009. The legal infrastructure in Turkey where official language is 

Turkish according to the Constitution has prevented broadcasts in any other 

language until today. This situation caused the exclusion of the communities, 

especially Kurds, who are the citizens of Turkish Republic but not ethnically 

Turkish and who would like to use their native language and make it visible, 

from the broadcasting field. It is known Kurds who live in Eastem and South 

Eastem parts of the country watch Kurdish TV channels that broadcast via 

satellite from abroad. It is possible to access via satellite to ı2 channels 

broadcasting in different dialects of Kurdish and reflecting different political 

tendencies. Establishing a public TV channel to broadcast solely in Kurdish 

came up as a part of "democratic reforms" which w ere initiated in 2009 by the 

govemment of the period in order to discuss the identity demands of different 

ethnical, cultural, religious ete. groups and decide on the necessary policies in 

this field. This attempt which has important symbolic denotations such as 

improving intercultural communication and recognizing diverse identities has 

brought forth the regulation of the law on radio and TV that prohibits 

broadcasts in languages other than the official language. The new law adopted 

in 20 ı ı, allows broadcasts in other language s, but aıso includes the phrase 

"B roadeasting in Turkish is fundamentaı". 

TR T 6 is not the only TRT channel to broadcast in a language other than 

Turkish. Opening out to different language s continued to fulfill the needs of the 

citizens in domestic broadcasts and also to spread the voice of Turkey to 

foreign countries. For this purpose, first TRT Avaz was launched in March, 

2 ı st, 2009 to address Central Asia, Caucasians and the Balkans, and offered 

content (some of them also being produced in these countries) in Azerbaijani, 

Kazaklı and Uzbek. This is followed by the launch of TRT Arabic (TRT el

TURKISH TELEVISION BROADCASTING 2011 3 5 

News 

4 1990 2008: TRT


2009 

Accessibi e from all 

around the world 

TRT 

2009 ( under the 

Documentary 

TRT Arabic 

Music 

General 

genres) 

Arabic 

(TR Tel 

Turkiye) 

TRTS 

Anatolia 

2010 

2010 

2011 

Sports, 

documentary, 

cinema 

General 

Altemate contents 

offered by local 

channels 

TRT has recently made an important leap with the diversity of the channels 

it offers and its thematic approach that recognizes the different tastes and needs 

of the viewers. Besides, by signing a cooperation agreement with Euronews, 

which is one of the leading news channels in Europe and in all over the world, 

TR T has become one of the biggest partners of Euronews, thus Euronews 

started i ts broadcasts in Turkish which became the 9th language of the channel, 

in January 2010.

TURKISH TELEVISION BROADCASTING 2011 3 7

ven though if thematization is considered as a so the 

programs can reach the target audience, no one can deny the social 

cultural advantages the generalist television 25 . structure 

of the general interest channels, that we are going to analyse in details further 

down, represents as such a fairly important matter Turkey, as watching 

television constitutes a very important way of socialization and establishing 

interpersonal communication. As we pointed it out a previous research we 

on women in Turkey and television culture, the schedule of those generalist 

VJ.H)J,AUJl'-'.1.0 rpr.rpç~pntç~ a to 'timetab le' at 

during day-time 26 . 

On the other hand, 

local production amongst the television 

as 

,..,..,.,,.... h- 1 an has to ""...'"'"....ı- 

gıven possibility to compete 

productions were dominant in this market. the fırst years of the 

television, when the had not enough knowledge experıence 

matter, were no private companies able to produce formats 

and contents, the need local production was by showing movies or 

home-ınade productions. 

Nowadays, deal various formats. ıs 

to a specialized staff joining industry 

F-,.L'U''-/ ...... LL"'-'~ .........., ...... to exchange TV .L'V.UL


generalİst televisions 27 shows that there ıs quite a variety of the programs. 

Although even if those channels are defıned as "generalist", we can see that 

some kinds of programs have become a driving force of the television, and that 

there is e trend to thematization of these channels, ev en if not said so. 

Our analysis on the program structure of six national broadcasting 

generalİst TV channels shows out the following fındings : 

5.1. Kanal D 

Other 

Garne Show 

Debate 

4% 

Mu sic/ 

Enterta i n m e nt/ 

Celebrity News 

10% 

TV Series/ 

Dram as 

57% 

Cu ltu ral/ 

Educational 6% 

27 

The analysis is realized during the week of April, 30 - May, 6, 2011 on six national 

broadcasting generalist TV channels. The channels were choosen in reference to criteria as the 

general rating data, the structure of ownership, the quality of being a public TV channel. 

Analyzed channels are: KANAL D, ATV, SHOW TV, FOX, TRT 1 and STV.


Kanal D is the main TV channel of the Dogan Media Group. W e can notice 

that i ts programs are mainly based on tv series and dramas. The total of news, 

debates, cultural and educational programs represents about 115 of the whole 

program. A very big part of the series and dramas is constituted by local 

productions and their rebroadcastings. 

5.2. ATV 

Gcırne Show 

other 

ATV is a competitor to Kanal D, as far as the structure of the programs and 

the type of productions it presents 28 . One can notice that % of the programs are 

series or dramas. If the number of local series broadcasted on prime-time in 

ATV is not so different of its competitors (Kanal D, SHOW TV, ete.), the 

difference of their share in the program structure comes from several 

rebroadcasts of these series, and a more important place accorded by this 

channel to broadcast theatre fılms. 

28 

For a detailed study on this subject cf. Hülya Uğur Tanrıöver et al., Türkiye 'de Film 

Endüstrisinin Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları, 2011, p. 47.


5.3. SHOW TV 

TV Series/ 

Dram as 

30% 

News 

10%~ 

Cu ltural/ ~ 

Educational 

ı% Music/ 

Enterta i n me nt/ 

Ce lebrity News 

7% 

Debate 

3% 

During the week we worked on the Cukurova Group's SHOW TV channel, 

we noticed that the most important production was television game shows. One 

can see that dramas ( especially local series) occupy much le ss time (30%) than 

in ATV or Kanal D, where they are a driving force. News, debates and cultural 

and educational programs represent only 15% of the who le program.


5.4. FOX TV 

Game Show 

11% 

Other 

2% 

lV 

Reality 

12% 

1% 

F ox TV has all o wed n early half of i ts programs ( 44%) to sene s and 

dramas, but we have to underiine that it includes daily series which are not so 

frequent in Turkey. Moreover, Fox TV has a special position canceming the 

new s and de bates, as 20o/o of the schedule include new s bulletins and if w e add 

to this the debates almost one third of the programs are of this category.


5.5. TRT 1 

Game Show 

Documentary/ 6% 

Reportage 9% ..... 

Otherl 

2% 

TV Reality 

Music/ 

Entertainment/ 

Celebrity News 

1% 

Cultural/ 

TV series/ 

Dram as 

57% 

W e can see that serı es and dramas rank first in TR T 1, w hi ch is the 

generalist channel of public television, as well as with i ts competitors ATV, 

Kanal D and FOX. In addition to that, news, debates, cultural and educational 

programs altogether represent 20% of the who le program. Another interesting 

point is that 'documentary/reportage' programs which are nearly absent in 

liberal commercial channels represent 9% of the program structure.


5.6. SAMANYOLU TV 

Game Show_...../"' 

1% 

Documentary/ 

eportage 5% 

-~-Other 

5% 

TV Series/ 

Dram as 

61% 

STV is a commercial channel, but also bears politically speaking 

conservative-islamic characteristics. The big part this channel allows to series 

and dramas is worth of interest. But we have to outline that the series and 

dramas broadcasted by this channel are very different from the ones of Kanal 

D, Show TV or FOX. Next to a very small number of classical series, the 

emphasis is on dramas with independent episodes, didactical and mostly about 

moral education and/or religious information. Moreover, an important part of 

the 'series-dramas' category is in fact constituted of 'television movies', which 

are quite rare in Turkey. Ifwe don't take into account the 'reality shows' which 

represent 12% of the programs, the other categories are represented with the 

same (and low) percentage. One can also notice that on this channel, music, 

entertainment or show programs don't take place in the same way than it does 

on other public or commercial generalist channels.


As one can see on the comparative graphs, dramas are clearly roling all the 

generalİst TV channels except one. Together with this, we observe a trend to 

specialization on different TV formats. SHOW TV, especially since a few 

years, has the leadership as far as television game shows are concemed. In this 

matter, the part of some imported programs like 'Fear Factor', 'Survivor', 

'Wipe out' which are intemationally popular formats has to be noticed. The 

most important difference of the public channel (TRT 1) from the others is, 

apart from the dominant position of dramas, the fact that the different program 

categories are almost equally represented. The fact that TR T 1 has the largest 

part of documentary/reportage and cultural-educational programs obviously 

shows that it works inaccordance with this channel's mission of obeying to the 

principles of public broadcasting. W e can als o notice that three of the 

commercial and liberal channels that were analyzed had nearly neither 

documentary-reportage nor any cultural-educational program. 

Time Allocated to Different Formats by TV Channels (minutes) 

7000 

6000 

5000 

4000 

3000 

2000 

1000 

o 

• Kanal D 

• Show TV 

• FoxTV


Time Allocated to Different Formats by TV Channels (minutes) 

STV 

.. 

FoxTV 

~ 

~ L 

~ . 

ı 

Other 

Culturai/fducationai 

Musıic/Entertainmerı, ete. 

TRT1 ~ • Game Show 

Show TV 

Kanal D 

ATV 

- 

• N Rea lity 

l~ • Debate 

~ • Oocumentarv/Reporta~ 

~ 

~ - ~ 

- - - - 

o 1000 2000 3000 4000 5000 6000 7000 

ı 

! 

• Ne~.ovs 

• TV Series/Dramas 

N owadays in Turkey, the lo cal series occupy a special place in the drama 

category which represents a driving force for the generalist channels. 

Consequently, more information about these productions is necessary to 

understand today's Turkish television broadcasting.

to 

29 

In this 

Turkish 

'de Film Endüstrisinin 

30


sa w the place of television in their lives increasing very fast. In accordance with 

the interest shown by the audience and the results of fırst surveys, the 

production of local series has increased more and more around the mid-90's. 

From this moment on, the Turkish audi en ce of television left nearly completely 

the foreign series daiming for "universality" and turned to local series. To 

watch local series has become the entertainment and recreation of nearly every 

evening after diner time for the majority of the population. 

In all the researches we have been ab le to fınd from 1998 until now, the 

number of local series has regularly increased. Even if sametimes some other 

formats have done a success (such as TV game or reality shows, like the 

Turkish adaptation of Taxi Orange) or even if sametimes it show ed some 

moments of stagnation, those never lasted long. 

60 

so 

Average Number of TV Series Broadcast Weekly 

.. 

Ql 

40 

.c 

E 30 

:s 

z 

20 

10 

o 

1998 2000 2002 2004 2006 2008 2010 

There aren't any sources in Turkey on the annual dispersal of broadcast TV series. The 

average numbers shown on this graphic are the results of our personal academic researches 

that we have been conducting since 1996.



Time (Minute) 

Number 

68-80 4 

81-90 10 

91-100 12 

101-113 10 

Total number of TV series 36 

Duration of Ep isodes ( minute) 

• 68-80 

• 81-90 

91-100 

• 101-113 

The graphic includes solely series broadcast on Kanal D, ATV, Fox, Star and SHOW. 

If w e consider the top four of those series, the proportion of the long ones 

shows a big increase, while the ones below 80 minutes do not even appear in it. 

On the other hand, the episodes are rebroadcasted several times in the same 

week or in day time or anather evening, which result is that the share of the 

series in to the channel' s program structure is very high. So, as w e previously 

said about the schedules, some channels although they are supposedly 

generalİst channels are close to be thematic channel as the now nearly only 

broadcast series/ dramas.


31 

Awards", 87-90.


Cbannels 

Number 

KANALD 10 

ATV 10 

FOX 9 

STAR 5 

TR Tl 5 

SHOW 4 

STV 4 

Total 47 

Dispersal of TV Series according to Channels 

TV series broadcast the week ofDecember 13th-19th on national TV channels 

The competition between Kanal D and ATV is not only a matter of number 

of series, but also with the rating scores. In the audience measurement results of 

December 2010, most of the fırst four leading series belonged to these two 

channels.

TURKISH TELEVISION BROADCASTING 20 ll 5 5 

one 

it is 

to say 

32 

33 

34


"genre" characteristics are stable and some others have disappeared or have 

emerged according to changes and trends. About the genre characteristics, 

comedies, melodramas and detective series are the main categories, as well as it 

is thecasefor the movies. 

W e are giving bel o w the distribution of the 4 7 series broadcasted between 

December, 13th to 19th 2010, according to the research we conducted on the 

mo vi e industry in Turkey. 

Dispersal of TV Series according to Genres 

D 

COMEDY 

21% 

W e must underiine that s ome series, present more than one genre 

characteristics, combining, for example, elements of a comedy and those of 

thriller in the same production. This characteristic appears in many series 

broadcasted in 2010. 

However, in any case, it is very obvious as it appears in this table that 

drama is the main genre. Moreover, the most favourite series are the ones 

bearing the characteristics of the traditional Turkish movie and remembering 

the melodramas of Yesilcam in the 60's. Nearly one series out of two is a

TURKISH TELEVISION BROADCASTING 20 ı ı 5 7 

drama/melodrama. Comedy and increasing in the last years the 

detective/adventure genres are just following the dramas. The other genres 

only showed periodic coming out. For instance, some fantastic movies were 

made especially for children towards the end of the 2000s. They were 

appreciated for a certain time, but then the audience showed no interest any 

more. W e can also mention so me historical series made by TR T and 

broadcasted by the channel at some periods of time it judged important. Since 

2005, the commercial channels started producing some historical series as well. 

At the beginning, there w ere productions focused on recent history ( especially 

on the military coup period), then some productions about the last years of the 

Ottoman Empire and the Turkish W ar of Independence reached high rating 

scores, but this situation didn't last. Historical series came up again with the 

series on the era of Kanuni Sultan Süleyman and Hurrem Sultan called 

'Muhtesem Yuzyil' ("The Magnifıcent Century"). This series started to be 

broadcasted in 20 ı ı and w as followed with deep intere st. This series' success 

triggered other channels to 'buy' this series at high prices and to make other 

series taking place during the Ottoman Empire with the same kind of subject. 

Dispersion of TV Series• Genres according to Channels 

7 

6 

5 

4 

3 

2 

1 

o 

KANAL ATV FOX STAR TRT 1 SHOW STV 

D 

• DRAMA 

• COMEDY 

THRILLER/ACTION/WAR 

• TEEN


The distribution of different genres shows the efforts to be different 

because of the competition of the channels. For instance, ATV, Kanal D, FOX 

and SHOW TV which are the most important in terms of number of series give 

much more importance to dramas. FOX and Kanal D broadcast some teen 

series bearing also melodramatic characteristics, which give those channels a 

'drama identity'. However, another important point is that TRT is almost giving 

the same importance to nearly all genres of series. 

When one considers the distribution of the themes in the series, it becomes 

obvious that love and other types of relationships stand in the farefront ; this 

situation overlaps the fact that drama/melodrama is the most frequent genre. 

The second theme is "stories of ordinary people" : in fact, that kind of themes 

com es out from the 'realistic' characters of Turkish series and gives the 

audience the possibility to identify with heroes. This theme mles in series 

showing families and neighbourhood, which are very important in our history 

of series. 

Thematic Dispersal of TV Series 

WAR/ 

TERRORISM\ 

11% 

DEEP STATE/ 

MAFIA 

4% 

ORDINARY 

PEOPLE 

38% 

When studying the series broadcasted in 201 O' s season, one can see that 

Istanbul is the most important place ch o sen for location as 'the world of series'. 

57% of the broadcasted series take place in Istanbul. Other cities have been


energy 

35 

36 

37 

The contradiction between 

, "urban-rural", "modem-traditionnal" was the center of, 

not melodramas but also of comedies. Situations related to these kinds of contradictions 

continue to constitute the main element 

'"''Tn_ı-


In cancem to the storytelling form in general, the type of series with a 

clean cut ending at each episode does not exist. The importance in Turkey is 

given to serials, that is to say that one needs to see all the episodes to 

understand the story and the real structure of facts. Consequently, one will be 

curious to see the next episode, so that channels are sure of the fıdelity of the 

audience. But w e have to take separately the sub-category of sit-com : because 

of i ts general content and format characteristics, every sit-com episode has its 

closure. Even detective series use one main story requiring fıdelity, as every 

episode itself relatively marks the end of one shorter story/intrigue. 

An other comman characteristic of those series is the use of sh ort stories 

in relation with the main one, the existence of many stories together and the 

interweaving of many events. This is the reason why missing even only one 

episode makes nearly impossible to understand the main story (as well as the 

smail on es). As a matter of fact, the tradition of remembering so me of the 

important sequences of the last episode is now well established and these 

fragments reached now 30-35 minutes, nearly representing the length of a 

normal series. This is the reason why in the right comer of the screen it now 

writesunder the title of the series "summary". In consequence, when this part 

en ds and the original episode starts, it write s at the same place "new episode", 

so that the audience is informed. 

When we analyse the characters, connected with the requirements of 

the format and storytelling and ev en if in so me series one character looms large 

(for instance Ezel, Polat Alemdar, Behzat C. in the 2010 season), we don't 

quite see one major unique-dominant character ruling the main story. In other 

words, the Turkish series' structure is composed of multiple characters and the 

major effect on the narrative structure is that it gives the possibility of 

combining many events and especially to create minor short stories. Combining 

many characters and events has a strong connection with the audience. As 

Morlleski pointed out, series are signifıcantly loved because the audience can 

identify itself to the characters of the series. In such a case, the fact that the 

channels target a large audience justifıes that the series have such nature. It


s co res


language, due to the increasing of the audiences' "TV-literacy" 38 and critical 

approaches. 

In Turkish series, families are the first or one of the first reasons why 

the individuals are "healthy". Sameone o w es to his family to be a good person 

and a good citizen. In the "classical" family series, the family finds out a 

solution to the smallest problem, always with solidarity and love surrounding. 

It' s always the only reliable reference. Of course, the hidden or the connotative 

meaning of this fact is that 'the one who leaves the flock, that is to say the 

family, will be taken away by the wolf. In series which focus on adventure and 

action, professional life as well as in relationships a little bit of the "mafia 

type', the "good" hero finds peace of mind and happiness in his family. On the 

contrary, the "real" bad one s have no "family" or are very far from true 

traditional family values and relationships. 

In the last period of time, we can see a change related to the family : 

there are many characters that are divorced or divorcing. This can be explained 

as a proof that divorce as a social phenomenon is part of the atmesphere of the 

series, even if most of the divorced people are bad ones, "degenerate" or they 

end starting a new family. On the other hand, sexual intercourse outside 

marriage which were previously identified with bad people only ("Küçük 

Sırlar, "Aşk ve Ceza", "Yaprak Dökümü" ete ..) are now used more frequently, 

although they generally lead to bad consequences. 

also see that women for years were with 

the family, even if they had any professional and public relations were shown 

mo re for the ir lives inside the family, have started the se last years to open up to 

the outside world. It's interesting to see the increasing number of women 

38 

For further information about this "audience typology" cf. Hülya Uğur Tanrıöver, La 

reproduction de la division sexuelle du travail a travers !es pratiques culturelles : images de 

femmes dans !es feuilletons de teZevisian turque et leur lecture dans le pays et dans 

l'immigration, These de Doctorat non publiee,Universite de Montpellier III, Dep. de 

Sociologie, 2003, Directeur: Prof. Dr. Mohand Khellil.

TURKISH TELEVISION BROADCASTING 2011


Unlike some of their equivalents in Europe, these US originated series are 

subtitled, which above all requires viewers to have a certain educational level. 

Actually, media planners and advertisers attach importance to such productions 

appealing to young, urban and modem populations inelin ed to W e stern culture 

due to their narratian style, sense of humor and textual implications. In fact, 

the se series are not watched "the most", but followed by a target group with a 

net profile. 

Some adaptations of foreign serıes have from time to time been quite 

popular. "Dadı" (Nunny) and "Tatlı Hayat" (The Jeffersons) are just to name 

two of these series started to be transmitted on national broadcasting generalİst 

channels in 2000s. Sametimes we can also see productions covering some 

elements from foreign series or very clearly "inspired" by them without a 

copyright agreement. However, such productions, which last for months and 

even years, somehow end up entirely "local" series unrelated to their source of 

inspiration although originally foreseen in parallel with the preferences and 

likes of viewers. 

Anather type of adaptation is "sitcom". Canada originated "Bir Kadın Bir 

Erkek" (Un gars et une fille) is the most successful example of such 

adaptation. Legally adapted, "Bir Kadın Bir Erkek" is broadcast on an 

encrypted digital platform.

are 

39 

i b id., 

ibid.,


producing original formats. Therefore, they preferred "reality shows" that 

broadcast judicial cases li ve and in which presenters follow up and comment on 

the cases as they happen. Besides, "investigator joumalism"- oriented programs 

using hidden camera shooting to disclose some problems were also produced. 

Jost qualifıes these programs as follows: "the programs which tum research or 

joumalism into show" 40 . Of these programs, the most rooted ones stili exist 

with certain stylistic changes. 

In the early 2000s, an imported program format broadcast under the name 

of "Biri Bizi Gözetliyor" 41 drew considerable attention. Actually, the name of 

this program i ts elf, w hi ch means "Somebody is spying on us", started to be 

used as a new idiom in daily language to refer to situations in which people 

"are observed" openly or in seeret Based on the combination of the idea of 

competition with the broadcast of people not knowing each other in advance 

but starting to live in the same house on a nearly full time basis, this format was 

continued in different versions. Transmitting "raw images" of daily life, this 

format inspired a Turkey-specific format in 2004. Moreover, the personal 

relations of the participants or their lives in the aftermath of the program w ere 

discussed as serious "phenomena" in the broadcast season as these people 

underwent certain magazinish or judicial situations. The program "Gelinim 

Olur Musun?" meaning "Will you be my daughter-in-law?" was based on the 

importance attached to marriage by Turkish TV viewers and the relation and 

even conflict between mothers-in-law and daughters-in-law which has become 

a tradition. The "Gelinim Olur Musun?" format targets to get mothers 

participating in the program to choose the best spouse for their sons among the 

single women sitting for marriage. This format was even exported to several 

countries. In Italy, this program was nominated for Emmy Awards and its 

producers entered a law suit against a program called "Momma's Boy" started 

40 

41 

For a definition of this term, cf. François Jost, Introduction a l'analyse de la television, Ellipses, 

Infocom, Paris, 1999, Chapter 5 and Chapter 9. 

The first version of this program, which was exported to several countries, broadcast in Turkey 

was in fact an adaptation of Austria originated "Taxi Orange".


w as 

42 

43 

44 

"ABD 'Gelinim Olur Musun'u ~"..-""''"'"~" 

brcmdcaE>tıng season, the program was called "Kim Yüz İster?" me:anıng 

Turkish currency . 

version of this program, cf. Yves 

sciences


In the 2000s, when coınpetition shows were on the peak, soıne 

competitions targeting to test endurance were also broadcast though soıne of 

theın were highly criticized. For exaınple, the coınpetition show called "Dokun 

Bana" (Touch me) was highly criticized in terms of the health of coınpetitors 

and even penalized by RTUK (The Supreme Board of Radio and Television) 

due to its possible effects on viewers. In this program broadcast on SHOW TV 

in 2001, the competitors were supposed to touch acar for 70 hours. The winner 

would be the one who uninterruptedly touched the c ar the most. 45 

The most popular exaınples of this type are foreign formats that have been 

broadcast for the last few years. With soıne of their adaptations, they have 

turned into real shows and started competing with local TV series, which are 

undoubtedly the favorite programs of prime-time TV channels; though not 

continuously, they have sametimes achieved a great success (when the 

İnıportant ınoments of competitions or their finals are broadcast ). Designed by a 

British TV producer in 1992 and broadcast on CBS in 2000 in the US, 

"Survivor" (initially called "The Last Survivor") was introduced to Turkish 

viewers by Kanal D in 2005. Transferred to SHOW TV one year later, the 

program divided the competing teams in two group s lik e "Turkey vs Greece", 

"Girls vs Boys", "Lions vs Canaries" (Galatasaray fans vs Fenerbahce fans) 

with the purpose of making viewers identify themselves with the teaıns 

coınpeting. US originated "Fear Factor" and "Wipe Out" with a similar format 

have aroused interest recently. 

Anather type of competition show that has becoıne popular Turkey so 

far and can be considered within the framework of talent or skill discovery 

programs is "cooking contests". Kitchen culture is an İnıportant coınponent of 

our society. Based on this fact, these programs bring together the participants 

who are to cook different meals and eat together. In fact, such programs can be 

thought to be a new version of cooking programs combining talk shows with 

recipe "comers", which are a classical part of "day time broadcast" largely 

45 

"Dokun Bana Show'a Ceza Getirdi", http://arsiv.ntvmsnbc.com/news/109969.asp


most 

46

7 Ü İSTANBUL CHAMBER OF COMMERCE 

about negative effects. Serious sanctions have been imposed on the programs 

that have not taken measures to protect the women participating in the program, 

which thus caused tragic results. 

Another format which has aroused interest the most in the daytime 

broadcast in recent years is "marriage programs". In Turkey, where marriage is 

one of the most fundamental social values, any assistance or support provided 

to single people to enable them to find suitable spouses is considered to be a 

very important proof of solidarity. Besides, in these programs the people who 

want to get married teli their life stories. Thus, their content resembles that of 

dramas. In this sense, it is possible to say that these programs are the televised 

versions of whatis being experienced among neighbors and friends in real life. 

Commenting on these programs, the President of R TSC said "They fulfill a 

social function". Y et, w e cannot say that the se programs have no ad verse 

effects. S ome of the participants have committed erime s by taking advantage of 

the program ( e.g., some committed fraud or theft with the pretext of marriage; 

some attempted to carry out "white marriage" to obtain citizenship ). Besi des, 

women's groups fighting against sexismin the media eriticize these programs 

because most of the female participants want financial assurance (like 

properties) as a requirement from possible husbands and the TV programıners 

just take this for granted. 

7.4. News Debate Shows 

As we mentioned above, in addition to general TV channels which are 

quite popular among Turkish viewers, there are also thematic news channels 

whose number has been on the rise recently. Such channels have a certain 

viewer profile. The viewers of news and "reality-based" contents can also 

watch debate shows in which important agenda topics are brought to the tab le. 

TV programs with the quality of "forum" or open session in which political 

agenda is discussed by different parties became popular also on general TV 

channels in the 90s, when mixed broadcasting started. Though broadcast after

47 



When we take a look at the distribution of advertiseınents ın different 

ınedia, w e see that television ranks the first by landslide 

9 Distribution of advertising expenses among media 

M edi um 

Share.(o/o) 

Television 55.85 

Press 26.08 

Radio 2.87 

Openair 6.98 

Cine ma 

L26 

Internet 6.97 

Though printed media keep its share in the cake to a certain extent, the 

biggest change in the distribution of advertiseınents can be seen on the Internet. 

The more the Internet is accessed and used, the bigger its share in the 

advertising cake is. 

On television, the biggest share belongs to national ground broadcasting 

channels; however, regional or local channels get nearly no share,while satellite 

and wired channels can benefit from only 10% of TV ads. 49 

49 

Ceren Sözeri, Zeynep Güney, ibid., p.54.


D is persal of TV Advertising Revenue 

according to Licence Type 

• National TV • Regional TV 

Cable TV Satellite TV 

Regional and 

Local TV 1% 

6% 4% 

• Cable TV • Satellite TV 

The distribution of advertising ineome among channels is in paraUel with 

the ratings 50 . In other words, TV companies' primary target is now to have the 

fırst ranks in the rating list through assertive productions, which has from time 

to time led the competition environment called "wars of rating" to appear. Y et, 

the distribution of advertising ineome does not match with the duration of ads. 

As it can be seen in the table below, the channels that are at the last ranks of 

rating lists or do not participate to the audience measurement system allocate 

more time to commercials. It is possible to infer that even the companies which 

are commercially less assertive prefer TV as it is the most popular medium for 

advertisements. 

50 

i b id.


1 O - TV series with the longest ad 

TVCHANNELS 

ATV 

NTV 

Kanal 7 

Fox 

Show TV 

D 

S tar 

CNNTur k 

CNBC-e 

Habertürk 

TGRTHaber 

NTV 

Flash 

Dizimax 

Cine5 

TV8 

Euro D 

6:920227 

6.795.448 

6.193.603 

5.976.729 

5.965.081 

5.878.871 

5.154.368 

5.102.165 

4.802.740 

4.763.492 

4.500.114 

4.427.313 

4.414.983 

4.142.544 

Source: The Nielsen Company (2010) cited by C.Sözeri, Z.Güney, ibid., s.56 

In 

target 

'"''-'"'""JLLJLLı'"'"''"'ı""'"'"-' which are so '-''-''-'"'ı'"""'" 

terminology) is a subject ""'""""~'"r'rı 

51 

Excluding telemarketing and social advertisements.

TURKISH TELEVISTüN BROADCASTING 2011 77 

mathematical media planning. It is actually a sociological, cultural and 

communicative topic. The advertising pollution graphic below highlights 

another dimension of this subject. 

TV Advertising Polintion (Adults) 

1200 

1000 

soo 

600 

ı 

1 

- 2005 

ı 

2006 

2007 

2008 

400 - 2009 

200 

o 

Source: NIELSEN TAM TURKEY, Mindshare 

2010 

This advertising pollution graph shows the number of advertisements 

which adults are exposed to ina week in Turkey. The pollution decreases in the 

first months of the year and in summer. However, since the month of Ramadan 

collides with summer in 20ı ı, an increase in the number of ads is expected. 

Because advertisers are busy with preparing their annual strategies in January 

February, there are generally less ads during this period. Yet, it is seen that this 

trend changed in 20 ı O. In brief, it can be said that advertising pollution is high 

in Turkey and it will further increase in the years ahead. 52 

"Reception studies", w hi ch w ere started in communication scıences ın 

ı 920 and gained impetus after the ı 970s, po int out that "exposure" to a one 

52 

Hülya Uğur Tanrıöver vd., ibid., 2011, p. 63.


single text does not bring about one single form of "reception". On the 

contrary, the same text can be perceived in various ways based on peoples' 

individual and co lleeti ve life stories and experiences 53 . When it comes to TV 

ads, it should be noted that the electronic rating system measures not the act of 

"watching" but just the TV channel w hi ch is on. 

As a matter of fact, a field study we have carried out for another research 

reveals that the viewers of TV series, namely the most favorite TV programs of 

advertisers, watch the ads very little. The advertisers, however, assume that ads 

constitute the way through which viewers "reach" them 54 . 

Vi.ewers' Tendancy to Watch Advertisements on 

Advertising Breaks 

• Always watches 

• Usually watches 

• Often watches 

• Never watches 

53 

54 

There are many sources on "communication theories". For example see. Annand Mattelart ve 

Michele Mattelart, İletişim Kurarnları Tarihi, İstanbul, Cem Yayınlan, 1998. Considered as a 

"founding text" in reception theories Stuart Hall, "Encoding, decoding", inCulture, Media, 

Language, Hutchinson, Stuart Hall et al. (eds.), Londres, 1985. For a comprehensive scientific 

study on viewers and reception, see. Brigitte Le Grignou, Du côte du public. Usages et reception 

de la television, Ed.Economica, coll.Etudes Politiques, Paris, 2003. 

Hülya Uğur Tanrıöver et al., ibid., 2011, p. 177-179.


Asked on what they do during the commercials, one out of 4 viewers says 

that when ads appear, they leave the room where they watch TV and 

approximately 1 out of 3 people passes to anather series broadcast on anather 

channel. 

Activities During Advertising Breaks 

5% 

1% 

• Changes the channel, watches 

anather TV series 

Changes the channel, watches 

anather program 

Zaps between the channels 

Stays in the room, busies 

lıimsel:f/herself with other 

activities 

Chats w ith the other viewers in 

the room {family, spouse, 

friends ... ) 

Leaves the roomtorun same 

errands (make tea, hang 

laundry ... ) 

nthPr 

As it can be seen in our study detailing this subject, 41% of women, who 

are one of the most fundamental target groups of advertisers, leave the room 

when ads are being broadcast. 

Aware of this situation, advertisers are gradually modifying the ir strategies. 

Turkish advertising sector is very successful in terms of creativity, which can 

also be understood from many awards granted to Turkish advertisers in several 

professional milieus at international level in addition to the importance attached 

by the world's biggest advertising agencies to their Turkish associates. To 

ensure that the ir advertisements on TV, the most popular medium, reach the 

target group, advertisers apply different strategies: embedding products in the

8Q 

İSTANBUL CHAMBER OF COMMERCE 

programs, using virtual advertisements, shooting advertisement series, featuring 

stars in their advertisements, ete. In fact, the very purpose of these efforts is to 

make their investments rentable. 

On the other hand, marketing communication and integrated marketing 

approaches are becoming more and more important. Based on this, many 

advertisers have been developing their spansorship business in addition to 

classical advertising. Spansorship provides the necessary basis to reach the 

target group especially on TV: Companies manufacturing the dothes of a 

presenter in a TV program or the main character in a TV series and the 

companies offering the fumiture and accessories in the place where the 

program is sh ot are im portant from the viewpoint of viewers. The main spansor 

of a popular program is sametimes presented with the "( ... ) presents" motto. 

This alsomakes viewers perceive the company/brand in question as an integral 

part of the program and has a positive effect on the brand awareness and image. 

As a matter of fact, our study on TV series viewers shows that they show 

interest in sponsorship, which is a relatively newer domain compared to 

classical advertisements. 

The Attention Paid to Sponsors of TV Series 

17% 

Pays atterıtion 

Never pays attention 

Never notices

55 

TURKISH TELEVISION BROADCASTING 20 ı ı 81

COUNTRY 

Hour: Minute 

05:39 

05:18 

Gr eec e 

05:03 

04:47 

2010 

Global Nielsen '-'V'""'"'''u""'ı


higher in some specific social and professional categories such as housewives, 

retired or people with problems of involving in outdoor 

activities. 

Audience measurement studies point out that the most watched programs 

in Turkey in annual average are, despite periodic and short term changes, local 

TV series,. According to field surveys conducted through face-to-face 

questionnaire method, the results are slightly different: N ews or prime time 

news are the most watched programs, and TV series are in the second rank. For 

example, according to the survey conducted by RTSC (Radio and Television 

Supreme Council) in 2009, news are in the first rank with a ra te of 93.7 % in 

the list of the most watched programs, "local TV series" are in the second rank 

with a rate of 86.2 %. However, this could be resulted from the difference 

between declaration and behaviour as often observed in studies on conviction 

and social behaviour. In other words, people prefer declaring "socially 

acceptable behaviour" rather than saying the truth. Moreover, according to the 

RTSC's survey, "religious programs" occupy the third rank with a rate of 61.8 

& in the list of most watched programs, this also signifies a deviation resulted 

from the methodology, because in spite of such a popularity as declared by the 

audience, there is no such a high demand for such programs in the television 

market. On the contrary, as w e have seen above in the seetion analysing the 

broadcasting stream of some selected channels, such programs do not occupy a 

large part to constitute a separate category 56 even in the channels giving a 

special emphasis to religious-spiritual matters. Periodic tendencies should be 

taken into account regarding this topic. month of is a very special 

period in Turkey because of i ts sanctity for Muslims. Even channels which do 

not broadcast religious-spiritual programs in other months of the year contain 

many programs discussing importance of Ramadan dev o tion during this 

special period. 

56 

For this reason, in our study of analysis, programs with religious content were analysed 

according to their structural features under the titles of education-culture or discussion.

TURKISH TELEVISION BROADCASTING 20 ll 8 5 

Studies conducted on the audiences of TV series indicate the wellestablished 

character of this habit. Almost half of the audiences ( 46 %) declare 

that they watch 2-3 TV series each week. A group of audiences consisting 36% 

of the total declare that they watch more than 4 TV series each week. This fact 

shows that the character of "the TV series watching" can be deseribed in terms 

of loyalty and multiple-watching rather than being an occasional practice. 

The Number of TV Series Watched Weekly 

22% 

1 TV Series 

2-3 TV Series 

4-5 TV Series 

Mo re 

Many studies displayed that the habit of watching television in general and 

watching TV series in particular is a "social" activity in Turkey. However, 

since there are no recent studies providing suffıcient data about the general 

television watching practices, the data obtained from the people within the 

category of "TV series audiences" will be analysed regarding characteristics 

and analysis of the audiences 57 . This approach is methodologically convenient 

since almost every television audience in Turkey is also a "TV series 

audience". 

In Turkey, three out of fo ur audi en ce s declared that they watch their 

favourite TV series together with their families. This rate is much higher for 

women than for men. 

57 

Hülya Uğur Tanrıöver et al., ibid., 2011, p. 160-177.


Table 12 - Do you watch your favourite TV series generally alone or with 

your family? 

BASE 

1083 

I watch aloiıe 

I watch with my family 

It depends on TV series 

The habit of watching TV series not only together with family members 

but also with friends is a kind of continuation of "tele-visiting" practice of the 

past days where TV sets were in limited number in Turkey. Many people 

denote that when they visit other people or are visited by other people, they 

watch the series on TV altogether and chat about them. A person interviewed in 

our qualitative field study deseribed this situation as: "In the evenings we visit 

other people or they come to visit us. There is X (name of TV series) on 

television. The subject on the series is spontaneously broached and we talk 

about it." (A; Female; 25-34; manager, single; Samsun). 

Certain ritualistic behaviours have been developed regarding watching TV 

series. Studies w e have conducted s ince 1996 show ed that the se rituals have not 

changed but more deeply established. People who were interviewed during our 

questionnaire surveys were asked whether if they perform one of those 

established behaviours, the tab le below displays the percentages of the people 

who adopted those behaviours more or less.


Tab le 

statements 

STATEMENT 

Ev en if there are other TV sets in the w e 

like to watch the same TV series on 

a single TV set 

Ifwe watch TV series together with couple ofpeople, 

we deliberate on that series. 

we drink tea or 

ete. 

W e compare the 

or stories in it with the 

SEX 

FEMALE% MALE % 

84,3 

if there is a series 

When 

own and 

62.0 

office or in neighbours' house is o ur 

favourite 

of conversation.


within their own communities and for maintaining and even establishing 

emotional bo n ds with the ir homeland. 58 

The general approach of audiences of TV series towards the regulation of 

broadcasting in Turkey indicates that there is a fairly liberal mass of audience. 

They do not approve the penalties imposed by R TSC for the infringement of 

broadcasting principles. They prefer regulation of broadcasting times instead of 

penalties. Almost 2 out of 3 audiences think that "some TV series should be 

broadcasted in Iate hours instead of being subjected to penalties". Furthermore 

audiences think that controlling over TV programs should be in the hands of 

audiences, so the regulation of broadcasting should be left to the free-market 

principles. Almost 3 out of 4 audiences state that "I think criticisms against TV 

series are absurd, if you do not like them, then do not watch them". 

Television watching practices have been gradually regarded as an 

important sociological phenomenon, and theoretical studies in this field have 

very much increased recently, these scientific studies do not only question 

"w hat and when audiences watch" but also "why", "ho w" they watch and "for 

what" reasons. Studies conducted in Turkey regarding television audiences in 

terms of such perspective present very significant findings. U nderstanding how 

audiences utilise television programs for their own needs is quite important to 

comprehend the prominence of this media and i ts content 59 . 

The findings that we obtained from our field studies demonstrate that 

although TV series are completely fictional, audiences get "documentary" 

benefits from these programs: TV series shot in particular regions or places 

introduce these places to the people just like documentary movies; such as 

"Mardin houses", "streets of Beyoğlu" or "mountain pastures of Blacksea 

58 

59 

For detailed information cf. Hülya Uğur Tanrıöver, "La Construction des identites et socialites a 

travers les pratiques culturelles : les irnmigres turcs et les feuilletons televises", in Diversite 

CuZturelle en Turquie et en Europe", A. Boeckel, I. Karakas (dir.), L'harrnattan, Paris, 2004. 

There are many scientific studies conducted in this field. For example see David Morley, 

Television, Audiences and Cu/tura! Studies, Routledge, London and New York, 2003 (1 1 92).


60 

Kitle 

61


Dispersal of TV Advertising Revenue 

according to licence Type (%) 

100 

90 

80 

70 

60 

50 

40 

30 

20 

10 

o 

2008 

2009 2010 

• Nationa l TV 

• Regional TV 

Loca l TV 

• Cable TV 

Sa te ll it e TV 

Source: Mindshare, 201 O 

Sözeri and Güney state that media groups owning more than one television 

channel dominate the most of the market , therefore the market is very much 

concentrated in the hands of these media groups. Sözer and Güney utilise the 

table belove to show the concentration rate in the market, and in this table they 

include HHI (Herfindahl Hirschman Index) 62 to display the share of each 

company in this concentration within the market, and the market share (CR%) 63 

and the share in concentration of four media groups which dominate the 80 % 

of the market. Sözer and Güney pointed out that HHI values between 1500 and 

2500 signify a medium level concentration according to the standards 

determined by the Secretary of Justice of The United States of America, and 

62 

63 

Herfindahl Hirschman Index: Developed by Hirschman and formulated by Herfindahl, this 

index displays the share of each company in concentration and considers the total distribution. 

According to this index, if the total sum of the squares of the market shares of the first two, fo ur 

or eight companies in the market is below 1500, as a general tendeney it can be said that the 

industry is not concentrated. If the values are between 1500 and 2500, then the industry is 

medium concentrated, and if it is above 2500, then the industry is highly concentrated. Ceren 

Sözeri, Zeynep Güney, ibid, p.54. 

CR% (Concentration Ratio): It shows the market shares. Ceren Sözeri, Zeynep Güney, ibid, 

p.55.


group 

19 361 

15 

8 64 

64 

65


Market Shares of Media Groups in TV Broadcasting 

Source: Mindshare, 201 O The total percentage of market share on the graphic is 99% as the 

real total market share of the 4 groups of whose market shares are indicated as zero adds up 

to 1%. 

The general profıle of the people working in the television broadcasting 

sector is a good indicator of the newly developing character of this sector. 

Sözeri and Güney summarizes the fundamental data defıning this profıle as 

such: 

"According to data provided by Social Security Institution, the number of 

employees with social security working in sectors of "television production and 

broadcasting" and "production activities of cinema movies, video and television


programs" 66 is ı 348 ı. 8 ı % of all employees are working in İstanbul based 

institutions and 8 % of them is working in Ankara. 

Television broadcasting seetar is a relatively new seetar comparing to 

established sectors such as the press. Employees working in the television 

broadcasting seetar are mostly young or middle-aged people, and the number of 

experienced employees is low. The percentage of the number of men (67 %) 

working in the television broadcasting seetar is much higher than that of 

women (33 %). 

Dispersaf of Employees in TV Broadcasting Sector 

according to Ages 

Source: Social Security Office data, November 2010 

The number of the employees with social security and with a tenure of less 

than five years is quite high." 67 

66 

67 

The employees in this sector was not included in television broadcasting sector, because 

employees especially working in the public sector are registered in sector of "production 

activities of cinema movies, video and television programs". 

Ceren Sözeri, Zeynep Güney, ibid, p.52.


Service Term of Covered Employees in TV Broadcasting 

Over 10 

6% 

Source: Social Security Office data, Novernber 2010 

Although these data are quite explanatory, the total labour force in the 

television sector is much higher than the numbers stated by the Social Security 

Institution. First of all, the media sector has a large number of free-lance 

employees. As a result of technological developments some groups prefer 

flexible working hours, however it is not easy to specify a defınite number 

about such groups. As we have discussed in previous parts, the production of 

TV series in Turkey has become a sector on its own. People working in 

different levels of this sector can be considered as "television employees". 

Some employees might be registered in social security institutions by some 

channels working with their own or fellow production companies. However, in 

TV series sector w hi ch should be considered within the "mo vi e industry", the 

unregistered employment is very much widespread. As we mentioned in our 

previous studies, one of the faremost demands of the employees in this sector is 

registration of labour force through regulations in accordance with the 

conditions of the sector 68 . 

68 

Hülya Uğur Tamıöver, ibid., 2011, p. 210.


69 

70 

71


Besides the Faculties of Communication, 7 Fine Arts Faculties provide 

"Cinema-TV" education. There are also several institutions providing 

certificate programs on television broadcasting and television joumalism such 

as Pera Güzel Sanatlar, TURVAK, Akademi İstanbul. 

Turkish television series in particular and Turkish television programs in 

general fınd an important place not only in domestic market but also in 

international markets. Even in the period of public television broadcasting on a 

sin gl e channel in 1981 TRT started exporting programs to different countries. 

Obviously at that time because of the nature of the public broadcasting, the 

main aim was not to gain profıt but to introduce Turkish culture and provide 

Turkish citizens living abroad with programs in their own language and culture. 

In 1981, 52 productions including documentary movies, movies and series were 

sold to 9 countries mostly in Europe. In 1986, TRT was represented in its own 

stand of representation in Cannes Film Festiva1. 72 However, Turkish television 

prorgams became really widespread in the 2000s. First, the TV series of Kanal 

D titled as "Gümüş" (Noor) was sold fırst to Egypt and then to other Middle 

Eastem and Gulf countries as a result of international connections built up by 

the broadcasting company. As a result of this expansion started in 2006, 

"Gümüş" had a great success in these countries just like "Dallas" or "The 

Young and The Restless" on ce had. Its name was change d as "N oor" and 

became a sensational phenomenon. As stated by the producer of this series, 

many factors had their share in this success. First of all, one of these factors is 

the positive image that Turkey has gained recently in the Middle Eastern and 

Ara b-Muslim societies. Second, although having a Muslim population, Turkey 

has much more liberallife styles, so Turkey became a model for these countries 

and such kind of life styles was transmitted through "Gümüş" and other TV 

productions. Third, the main character of the series was a strong and 

independent woman who can overcome diffıculties with her own determination 

without the h elp of o man 73 . 

72 

73 

For more information in this subject cf. Özden Cankaya, ibid, 2002, p. 241. 

In-depth interview with the producer, 22 July 2011.


74 

75 

76


recognition, so the demand for these products increased in international 

markets: Clothing, household textiles, accessories, furniture, automobiles, 

technological products, food products are some of these products. Places, 

towns, regions, districts where TV series are shot became the favourite spots of 

domestic and international tourism. For example, tourists coming from the Gulf 

or Middle Eastern countries vis it Abut Yalı sı the main setting of "Gumus 

Noor" series before visiting historical venues, so Abut Yalisi became a sort of 

museum and a lucrative commercial venture. In terms of domestic tourism, 

Cappadocia region as the setting of "Asmalı Konak" series which was on TV 

during 2002 became a favourite point for domestic tourists. The region was 

discovered by tourists as a result of this TV series although the region has 

profound historical and natural importance. As a similar case , after the 

broadcasting of "Muhteşem Yüzyıl", a TV series based on the lives of 

Süleiman the Magnificent and his wife Hürrem Sultan, the number of domestic 

visitors of the Topkapı Palace increased rapidly. Furthermore, after "Muhteşem 

Yüzyıl", there was an increasing interest towards books and cultural and 

discussion television programs about Ottoman history. This reveals that TV 

productions and movies do not have only commercial values but also positive 

features regarding culture. 

In accordance with all these developments, Ministry of State responsible 

for Foreign Trade declared that the sector of cinema and mo vi e w as included as 

24th sector within the sectors eligible for state support for exportation as of 

2010. In this context, regulations were made to provide supports for the movie 

and cinemasector as other sectors enjoy. 

As privileged export products, Television productions and especially TV 

series became subject to some critical comments particularly coming from the 

countries which these TV production are exported to. These critical comments 

were especially about the format and technical features of these productions. 

Within last few years, the durations of the episodes became quite long to 

exploit the commercial capacities at maximum level, however broadcasting of 

Turkish TV series abroad became impossible due to such long episodes. For



field especially in continental Europe 80 , it became a very densely studied 

academic field in the academic world in Turkey. 81 

Today, Turkish television broadcasting with its pluralistic character, its 

variety and richness is in a very positive position. To ameliorate this position, 

all the partners in sector should develop long term strategies instead of daily 

plans which will be detrimental for the sector in the long run. For example, 

taking the commercials out of daminance of increasingly stereotype TV series, 

directing productions to matching audiences and distinguishing regulations 

from punishments are some of the step s that should be taken in this direction. 

Turkish TV producers and broadcasters participate to different 

international organizations, pitching forums, ete. where they meet 

professionals of their sector. They have to take profit from the actual positive 

conjoncture and work to elaborate new conditions to develop Turkish TV 

broadcasting even in national then international markets, by creating new 

dramas, new formats and also co-production opportunities. It will be not only a 

benefit for the TV broadcasting sector but for the whole image and situation of 

Turkey. 

80 

81 

These debates stern from the approach daiming that every media audience is already a "media 

literate", and they can develop different literacy styles suitable for their own needs. A centrally 

organİsed education of media literacy is criticised of being "elitist" and of being a tool in the 

hands of official ideologies. 

As an example cf. Nurçay Türkoğlu, Melda Cinmen Şimşek (ed)., Medya Okuryazarlı ğı, 

Kalem us, İstanbul, 2007.

o 

et 

Mesurer 

Kurumunun 

sciences

ÇELENK Sevilay (2010), "Aşk-ı Memnu'dan Aşk-ı Memnu'ya yerli dizi 

serüvenimiz", Birikim, p. 18-27. 

HALL Stuart (1985), "Encoding, decoding", in Stuart Hall et al. (eds.), Culture, 

Media, Language, Hutchinson, Londres. 

JOST François (1999), Introduction a l'analyse de la television, Ellipses, 

Infocom, Paris. 

LE GRIGNOU Brigitte (2003), Du côte du public. Usages et reception de la 

television, Ed.Economica, Coll.Etudes Politiques, Paris. 

MAJORET Eric, MACE Eric (2005), Penser !es mediacultures. Nouvelles 

pratiques et nouvelles approches de la representation du monde, A. Colin et 

INA, Paris. 

MATTELART Arınand ve Michele (1998), İletişim Kuramiarz Tarihi, Cem 

Y ayınlan, İstanbul. 

MODLESKI Tania (1982), Hznçla Sevmek, Pencere Yayınları, İstanbul. 

MORLEY David (2003), Television, Audiences and Cu/tura! Studies, 

Routledge, London and New York (1992). 

Meral (1997), "Arabesk Culture: A Case of Modemization and 

Popular Identity", Rethinking Modernity and National Identity in Turkey, 

BOZDOGAN Sibel and KASABA Reşat (eds.), Chapter 12, University of 

Michigan Press. http://library.northsouth.edu/Upload/Rethinking%20Modernity.pdf 

ÖZKAN Evrim Töre (2010), İstanbul 

Y ayınlan, İstanbul. 

Film Endüstrisi, Bilgi Üniversitesi

UGUR TANRıÖVER Hülya, et al. (20 ı ı), Türkiye 'de Film Endüstrisinin 

Konumu ve Hedefleri, İstanbul Ticaret Odası Yayınları. 

UZUN Ruhdan, "İstihdam sorunu bağlamında Türkiye' de iletişim eğitimi ve 

öğrenci yerleştirme", İletişim Kurarn ve Araştırma Dergisi, no 25, Yaz-Güz 

2007, p. ıı7-ı34. 

WOLTON Dominique (1990), L 'Eloge du grand public. Une theorie critique 

de la television, Flammarion, Champs, Paris. 

Calinos, http:/ /www .calinos.com/tur 

OTHER 

Republic of Turkey, Ministry of Development, http://www.dpt.gov.tr 

IPTV Association, http://iptv.org.tr/iptv 

Platform of Communication Faculties, http:/ /ifop.kocaeli.edu.tr 

İsmail Cem TV Awards Almanac (2009). 

İstanbul Chamber of Certified Public Accountants 2008-20 ı O "Economy of TV 

Series" 

Report.http:/ /archive.ismmmo.org.tr/docs/yayinlar/kitaplar/20 ı O/ı O_ ı 0%20dizi 

%20arastirmasi. pdf 

"Nielsen TV Almanac 20 ı O", S tarcom Media Ve st Group Connected, 

http:/ /smgconnected.com/tv-yilligi-20 ı 0-hanelerde-sahiplik-ve-yayin-almasekilleri 

NTVMSNBC, http://www.ntvmsnbc.com 

Radio and Television Supreme Council (RTSC), http://www.rtuk.org.tr

lC OC PUBUCATIONS (201 O) 

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Çinilerine 

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Türk Yan Sanayi Borsası Üye Profil Araştırması (Türkçe-İng) 

Edebiyatımızda Ticaret ve Taeider 

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Fiyat İndeksleri (=Price Indices) 

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Avrupa Birliği'nin Serbest Ticaret Anlaşmalan'na Türkiye'nin de 

Dahil Edilmesi 

Dünyada ve Türkiye'de e-İhracat Uygulamaları 

Mesleki ve Teknik Ortaöğretİrnde Finansman Harcamalar ve 

Maliyet 

Türkiye İçin Yeni Bir Büyüme Modeli 

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Türkiye'den Az Gelişmiş Ülkelere Sermaye Göçü (Relokasyon)

201 ı

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Toplumsal Yapı ve Verginin Sosyal Bileşenleri: Tercilıli Vergi 

Türk-Japon Ticaret İlişkileri 

Tarihin ve Medeniyetin Beşiği Çarşılar 

Gökyüzünden İstanbul ibadethaneleri ( =Sanctuaries of İstanbul 

From The Sky) 

Birinci İktisat Tarihi Kongresi Bildirisi (2 cilt) 

Ticaret ve Hayat 

Bacıyan-ı Rum'dan Günümüze Türk Kadınının İktisadi' Hayattaki 

Yeri 

Lojistik Sektöründe Dumm Analizi ve Rekabetçi Stratejiler 

Türkiye' de Yayın Hayatı 

AB' ye Uyum Sürecinde Türkiye'de Büyükbaş Hayvancılık 

Ortadoğu ve Kuzey Afrika Ülkelerinde Ekonomik Dönüşüm 

KOBİ'ler için Çin Halk Cumhuriyeti Rehberi 

İstanbul-The Grand Bazaar: From Past to Present 

İstanbul'un Atlı ve Elektrikli Tramvayları 

Dünyada ve Türkiye' de Doğalgaz Sektörünün Yapısı ve 

İnovasyonun Rolü 

Şehristan İstanbul: Seyyahların Hayal Şehri

20ı0-106 

20ıo-ıo7 

20ı0-108 

20ıo-ıo9 

20ıo-ııı 

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20ıo-ıı5 

20ıo-ıı6 

20ıo-ıı7 

20ıo-ıı8 

20ıo-ıı9 

20ıO-ı20 

20ıo-ı23 

Sağlık Sektöründe Kalite ve Maliyet Analizi: Kamu-Özel 

Karşılaştırması 

İstanbul Ticaret Odası: Türkiye'nin Gelişimine Adanmış Bir 

Kurum (2.bs.) 

The Istanbul Chaınber of Coınınerce: An Institution Devoted to 

Development of Turkey (2.bs.) 

Dersaadette Ticaret 

Teknoparklar: Teknolojik Bilginin Ticarileşınesi 

KOBİ'lerde Esnek Çalışına 

Doğal Taşlar ve Çin Halk Cumhuriyeti Rekabeti 

Avrupa Birliği'ne Uyum Sürecinde Türk İplik Sektörü 

Türkiye' de Yayın Hayatı 

Türkiye'de Film Endüstrisinin Konumu ve Hedefleri 

Küresel Mali Piyasalarda Yeniden Yapılanma ve Türkiye 

İstanbul Ticaret ve Sanayi Odası Eylülı923- Mayıs ı926 Faaliyet 

ve Uygulaınalarına Dair Genel Rapor 

Sayılada İstanbul 20 1 O 

Dış Ticaret Bilgilendirme Dizisi 5: Sorularla TIR Karnesi Sistemi 

Yeni Türk Ticaret Kanunu ve Avrupa Birliği Mevzuatı 

Çerçevesinde Ticaret Sicili 

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Haberlerden Yansıyan İTO: 2010 

Ekonomik Rapor: 20 ı O Yılında Türkiye ve Dünya Ekonomisi 

Econoınic Report: Turkish and World Econoıny in 20 ı O 

Limited Şirketler Rehberi 

Ekınekçilik Sektör Araştırınası 

İslam ve Türk İllerinde Fütüvvet Teşkilatı 

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