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TURKISH TELEVISION BROADCASTING 2011 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-
60 İSTANBUL CHAMBER OF COMMERCE 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
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