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(Self)Censorship, Media Repression, and the Trajectory of Citizen Journalism in Turkey: the Evolution of 140Journos

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(Self)Censorship, Media Repression, and the Trajectory of Citizen Journalism in Turkey: the Evolution of 140Journos (Self)Censorship, Media Repression, and the Trajectory of Citizen Journalism in Turkey: The Evolution of 140journos Item Type text; Electronic Thesis Authors Perugini, John Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 16:48:28 Link to Item http://hdl.handle.net/10150/628445 (SELF)CENSORSHIP, MEDIA REPRESSION, AND THE TRAJECTORY OF CITIZEN JOURNALISM IN TURKEY: THE EVOLUTION OF 140JOURNOS by JOHN PERUGINI ___________________________________ Copyright © John Perugini 2018 A Thesis Submitted to the Faculty of the SCHOOL OF MIDDLE EASTERN AND NORTH AFRICAN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2018 2 3 ACKNOWLEDGMENTS As I look back on this thesis, I realize the extent to which I am indebted to my advisors, colleagues, friends, and family. First, I would like to extend my sincerest gratitude to my thesis chair, Dr. Benjamin Fortna, for providing invaluable feedback, being available at a moment’s notice, putting up with my incessant emails, and, in general, being the model of what an academic advisor should be. Additionally, I would like to thank both Dr. Maha Nassar and Dr. Leila Hudson for their thought-provoking questions and feedback which transformed my fledgling thesis into something substantial. Without the three of you, this project would have never come to fruition. I also wish to thank my friends and colleagues for their support throughout this process. Specifically, I wish to thank my lifelong friend Michael Boyd for his encouragement; my close friends Ilayda Lynch, Giovanna Saccoccio, and Jordi Saunders for encouraging me to see the light at the end of the tunnel; my friends and colleagues Lara Tarantini, Atacan Atakan, Safa Hamza, Emrah Karakuş, Brittany Power, Tatiana Rabinovich, Feras Klenk, Saffo Papantonopoulou, Zoë Kosoff among countless others, for their emotional support and advice throughout this process. A special thank you to Nazin Ciziri who, in addition to being a supportive friend, assisted me on multiple occasions when my understanding of Turkish began to deteriorate after long hours of research. Thanks must also be extended to 140journos, the group that inspired this project, for their continued media productions. 140journos has continued to embody what I feel media should and can be throughout their now more than five-year tenure. I owe much of my productivity to (caffeine from) Caffe Luce, and I sincerely doubt that I am the first graduate student at the University of Arizona to extend thanks to a local Tucson treasure. My father, Don Perugini, was on the receiving end of countless phone calls detailing the progress of my thesis. At the conclusion of each were his encouraging words. I owe any accomplishments, past, present, and future, to his undying support and generosity. Finally, I especially want to thank Meltem Odabaş for her unwavering support emotionally and academically. Without her, I do not believe I would be at the stage where I am writing these acknowledgments. To her, more than anyone, I extend my sincerest gratitude. Without the above, this thesis would not have been possible. Still, it must be said: any shortcomings—of which there may be many—are mine and mine alone. 4 Table of Contents ABSTRACT ................................................................................................................................................................ 6 CHAPTER 1: INTRODUCTION ............................................................................................................................. 7 1.1 TURKEY’S MEDIA CLIMATE: POLARIZED AND RESTRICTED .............................................................................. 12 1.2 RELATIONSHIPS AND FORMS OF CENSORSHIP ..................................................................................................... 15 1.3 THE INTERNET, DEMOCRACY, AND GOVERNANCE .............................................................................................. 19 1.4 OUTLINE OF CHAPTERS ........................................................................................................................................... 22 1.5 LITERATURE REVIEW ............................................................................................................................................... 24 1.5.1 Repression and Mobilization- Backfire and Deterrence .................................................................... 25 1.5.2 Networked Public Sphere(s), Citizen Journalism, and Social Media ............................................ 29 1.5.3 Genealogy of Censorship in Turkey .............................................................................................................. 32 CHAPTER 2: CENSORSHIP, BACKFIRE, AND CITIZEN JOURNALISM: THE FIRST TWO EVOLUTIONS OF 140JOURNOS ....................................................................................................................... 40 2.1 DIGITAL SOCIETY, DIGITAL NEWS ......................................................................................................................... 43 2.2 ULUDERE (ROBOSKI) AND CENSORSHIP IN TURKEY .......................................................................................... 47 2.3 THE FIRST ‘EVOLUTION’ OF 140JOURNOS: ‘ON THE GROUND’ CITIZEN JOURNALISM ................................. 50 2.4 THE GEZI PARK PROTESTS: THE “LADY IN RED” AND THE MARCH OF THE PENGUINS ............................... 55 2.4.1 Backfire and Mobilization at Gezi Park ..................................................................................................... 59 2.4.2 Censorship Backfire, Penguins, and Social Media ................................................................................. 62 2.5 DIGITAL SPACE MEETS PROTEST SPACE: GEZI AND 140JOURNOS ORGANIZATIONAL SHIFT ..................... 65 2.6 THE AFTERMATH OF THE GEZI PROTESTS: SUSTAINING A CITIZEN JOURNALISM PROJECT ........................ 70 CHAPTER 3: TURKEY’S STATE OF EMERGENCY AND THE ‘PROFESSIONAL/CREATIVE’ EVOLUTION OF 140JOURNOS ......................................................................................................................... 78 3.1 THE ARTISTRY OF THE ‘PROFESSIONAL/CREATIVE’ 140JOURNOS ................................................................. 82 5 3.2 BETWEEN NON-COMMENTARY AND ANTAGONISM? .......................................................................................... 88 3.3 IS CITIZEN JOURNALISM SUSTAINABLE DURING A STATE OF EMERGENCY? WHAT WE CAN LEARN FROM 140JOURNOS’S TRAJECTORY................................................................................................................................................ 92 CHAPTER 4: 140JOURNOS AND THE WAY(S) FORWARD?.................................................................... 99 4.1 NETWORKS IN HIBERNATION? ONE WAY FORWARD ..................................................................................... 101 4.2 SOCIAL CHANGE FROM BELOW? ONE WAY FORWARD ................................................................................... 102 4.3 THE DARKEST HOUR? ONE WAY FORWARD .................................................................................................... 103 WORKS CITED .................................................................................................................................................... 105 6 ABSTRACT This research traces the evolution of 140journos, a former citizen journalist group (2012- 2017) and now professional media group (2017-present) based in Istanbul, Turkey. In doing so, it connects the evolution of the group with the broader processes of censorship and media repression in Turkey. Since its establishment in 2012, I argue that 140journos can be categorized by three distinct evolutions: On the Ground, Curatorial, and Professional/Creative, and that each evolution has been a distinct, tactical response to evolutions of media repression and censorship in Turkey. By understanding the tactical responses of 140journos during each evolution and what prompted the large-scale organizational and tactical shifts of the group, we can more critically engage with and more thoroughly understand the constantly evolving processes of media repression and censorship in Turkey. Additionally, the trajectory of the group—going from citizen journalists in the first two evolutions to a professional ‘media’ group in its third and current evolution—indicates not only the degree and form(s) of censorship in Turkey but also the strengths, weaknesses, and potentialities of citizen journalism, more broadly. 7 CHAPTER 1: INTRODUCTION This project is a case study of a singular media group based in Istanbul, Turkey— 140journos—that was established in 2012 and has continued to publish content on a regular basis on a variety of digital platforms. Those familiar with social media might glean from the group’s name—coming from the 140-character limit on Twitter posts—the digital nature of 140journos, and the group’s digital-only model will prove to be an important site of consideration due to Turkey’s internet regulation policies, discourses surrounding internet use in Turkey, and various government restrictions
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