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WHAT DO AUDIENCES THINK ABOUT LITERARY ADAPTATIONS: a RECEPTION STUDY on TURKISH TV SERIES and FIDELITY a Master's Thesis By

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WHAT DO AUDIENCES THINK ABOUT LITERARY ADAPTATIONS: a RECEPTION STUDY on TURKISH TV SERIES and FIDELITY a Master's Thesis By WHAT DO AUDIENCES THINK ABOUT LITERARY ADAPTATIONS: A RECEPTION STUDY ON TURKISH TV SERIES AND FIDELITY A Master’s Thesis by AYGEN ECEVİT Department of Communication and Design İhsan Doğramacı Bilkent University Ankara January 2017 To Soner Cengizoğlu… WHAT DO AUDIENCES THINK ABOUT LITERARY ADAPTATIONS: A RECEPTION STUDY ON TURKISH TV SERIES AND FIDELITY Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by AYGEN ECEVİT In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in THE DEPARTMENT OF COMMUNICATION AND DESIGN İHSAN DOĞRAMACI BILKENT UNIVERSITY ANKARA January 2017 ABSTRACT WHAT DO AUDIENCES THINK ABOUT LITERARY ADAPTATIONS: A RECEPTION STUDY ON TURKISH TV SERIES AND FIDELITY Ecevit, Aygen MA, Department of Communication and Design Supervisor: Asst. Prof. Dr. Colleen Bevin Kennedy Karpat January 2017 Fidelity discussion has a long history in adaptation studies and despite all negative criticism towards fidelity concern, the discussion about fidelity still remains. This thesis, with its audience based perspective, aims to contribute to this discussion by exploring the spectators’ perception about fidelity with a discourse analysis in respect of two main questions: Do audiences care about fidelity? If so, what does fidelity mean according to them? To investigate these issues, two Turkish TV series, Aşk-ı Memnu (Forbidden Love) and Behzat Ç. Bir Ankara Polisiyesi (Behzat Ç. An Ankara Detective Story) are selected as case studies and discourse analysis, as a method, is used. In order to gather information about their reception, analyzing Ekşi Sözlük (Sour Dictionary) entries about these two series’ is used as the methodology. Susers’, who are also readers and spectators, entries who mentioned their idea about fidelity and adaptation are collected and they compared between these cases. As main results, iii it reveals that fidelity care is fairly low for both of them but they have different kind of fidelity notions. Furthermore, this study also demonstrates these susers’ comparative fandom behaviors and it attempts to enlighten how do their habit of writing entries and being a part of a specific online community enrich their experience of watching these shows. Key words: Adaptation, Aşk-ı Memnu, Behzat Ç., Fidelity, Television Series iv ÖZET EDEBİYAT UYARLAMALARI HAKKINDA SEYİRCİLER NE DÜŞÜNÜYOR: TÜRK TELEVİZYON DİZİLERİ VE SADIKLIK ÜZERİNE BİR ALIMLAMA ÇALIŞMASI Ecevit, Aygen Yüksek Lisans, Medya ve Görsel Çalışmalar Tez Danışmanı: Yard. Doç. Dr. Colleen Kennedy Karpat Ocak 2017 Uyarlama çalışmalarında sadakat tartışmasının başlangıcı oldukça eskiye dayanır. Sadıklığa duyulan ilgi, zaman içerisinde oldukça eleştiri toplasa da, bu konu bir tartışma alanı olarak halen varlığını sürdürmektedir. Bu tez, sahip olduğu izleyici odaklı bakış açısıyla, edebi eser uyarlamalarına dair yapılan kitaba sadıklık tartışmalarına pratik bir katkı sağlamayı amaçlamakta ve izleyiciler üzerinde gerçekleştirdiği söylem analizi çalışmasında iki temel soruya yanıt aramaktadır: “Seyirciler uyarlamada sadıklığa önem veriyor mu? ” “Eğer veriyorsa, onlar için sadıklık neye karşılık geliyor?” Bu durumu incelemek için, Aşk-ı Memnu ve Behzat Ç. dizileri, vaka olarak seçilmiş, izleyici alımlamalarına dair bilgi toplamak için, aynı zamanda izleyici ve okur kimlikleriyle karşımıza çıkan sözlük yazarlarının bu iki v diziye dair yazdıkları Ekşi Sözlük girileri arasından sadıklıkla alakalı olanlar ayrılmış ve karşılaştırılmalı olarak incelenmiştir. Sonuç olarak edebi esere sadakata verilen önemin iki dizi izleyicileri için de oldukça az olduğu, ancak sadıklığı nasıl tanımladıklarına dair farklılıkların olduğu belirlenmiştir. Ayrıca bu çalışma, bahsedilen sözlük yazarlarının hayransal davranışlarını karşılaştırmalı da anlatmakta, yazarların giri yazma alışkanlığının ve özel bir çevrimiçi topluluğun üyesi olma hislerinin dizileri izleme deneyimlerini nasıl zenginleştirdiği sorusunu da aydınlatmaya çalışmaktadır. Anahtar kelimeler: Aşk-ı Memnu, Behzat Ç., Sadakat, Televizyon Dizileri, Uyarlama vi ACKNOWLEDGEMENTS Firstly, I would like to express my thankfulness to my supervisor, Assist. Prof. Colleen Bevin Kennedy Karpat for her huge support, guidance and patience. This thesis could not be done without her. Not only through my thesis journey, the support and wise companionship she shows to me since my minor program years in this department as an undergraduate, until my graduation of master degree, means a lot to me, so, I deeply say, “Thank you..” Secondly, I would like to thank Prof. Dr. Ahmet Gürata for his interest and suggestions and providing more sources to me. I am grateful for having Asst. Prof. Dr. Sevgi Can Yağcı Aksel in my committee to let me make use of her insight of Turkish TV. I also would like to thank Prof. Dr. Laurence Raw for his creative questions that make me brainstorm more deeply and develop my horizon. I owe thanks to some of the special people in my life. Doğan Kahraman, thank you for always believing in me for years in terms of achieving all of my goals including this thesis. My dear best friend Gülce İpci, I thank you to always listen me, make me smile, sharing enjoyable breaks with me and trying to calm me whenever I feel stressed. I am also feeling thankful for being in “K Squad” and our moments in library; Yasin, thank you for sharing a desk with me for weeks while writing our thesis’ as well as our coffee breaks that we motivate each other, Ceren, your friendly vii presence in library and our conversations make me feel less anxious and more determined. I hope the best for your bright future. I would like to express my gratitude also to Tuba Şahin, Gülden Alaz Meriç, Sera Abdülaziz, Safa Sanchez, Lindsay Tobin, Şölen Ödül Selvi, Zebra, İlker Ülgen and Gökçe Özsu for their support especially in last period of my thesis. Without Emrah Serbes’ and Halid Ziya’s pieces, as well as Ekşi Sözlük susers, there would not be such a thesis, so I owe thanks to them too. Last but not least, my special thanks to my family, my mother and my brother for spread their positivity to me, push me to try to do my best and to my cousin Ceren, who, whenever we both feel overwhelmed, reminds her belief that we, as two, can do whatever we want. Finally, I want to express my deepest thankfulness to all, who somehow affected my thesis year positively, but I cannot remember to mention their names now. viii TABLE OF CONTENTS ABSTRACT…………………………………………………….iii ÖZET…………………………………………………………….v ACKNOWLEDGEMENTS…………………………………….vii TABLE OF CONTENTS………………………………………..ix LIST OF FIGURES……………………………………………..xii CHAPTER 1: INTRODUCTION & LITERATURE REVIEW….1 1.1. Introduction……………………………………………..1 1.2. Literature Review……………………………………….4 CHAPTER 2: ADAPTATIONS ON TURKISH TV & TWO SELECTED CASES AND METHODOLOGY…………………………..……16 2.1. The Appearance of Literary Adaptations on Turkish TV and Selected Examples: Aşk-ı Memnu and Behzat Ç………………16 2.1.1. Literary Adaptations on Turkish TV…………….17 2.1.2. Aşk-ı Memnu…………………………………………20 2.1.3. Behzat Ç………………………………………………24 2.2. The Structure of Ekşi Sözlük and Methodology………..27 ix CHAPTER 3: ANALYSIS OF AŞK-I MEMNU RECEPTION AND AŞK- I MEMNU FANS’ BEHAVIORS………………………………….40 3.1. Introduction………………………………………………40 3.2. Analysis of Aşk-ı Memnu Reception……………………..43 3.2.1. Fidelity Across Time……………………………….45 3.3. “Fidelity to What?”………………………………………52 3.3.1. (In-) Fidelity to Characters…………………………53 3.3.2. (In-) Fidelity to Language, Names and Dialogues…57 3.3.3. (In-) Fidelity to Place, Setting and Costumes……..63 3.3.4. (In-) Fidelity to Finale…………………………..…66 3.3.5. (In-) Fidelity to Gender Roles……………………..67 3.3.6. (In-) Fidelity to the Message of The Author………72 3.3.7. Debate about Popular Culture……………………..73 3.4. Unique Fan Behaviors of Aşk-ı Memnu Fans……….……78 CHAPTER 4: ANALYSIS OF BEHZAT Ç. RECEPTION AND BEHZAT Ç. FANS’ BEHAVIORS………………………………………….. 79 4.1. Fidelity Issue From the Perspective of Behzat Ç………….79 4.2. Selected Examples of Entries…………………………….92 4.2.1. (In-)Fidelity to Reality………………………………92 4.2.2. Infidelity to Other Turkish TV Series………………..97 x 4.2.3. (In-) Fidelity to Narrative………………………………99 4.2.4. (In-) Fidelity to Characters…………………………….101 4.2.5. Comments about Episodes Written by Emrah Serbes…106 4.2.6. (In-) Fidelity to Ankara…………………………………109 4.2.7. General Comments about Adaptation…………………..112 4.2.8. (In-) Fidelity to Text…………………………………….114 4.2.9. Others……………………………………………………115 4.3. Unique Fan Behaviors of Behzat Ç. …………………………..115 CHAPTER 5: CONCLUSION……………………………………..126 5.1. Overall Summary and Final Remarks ……..……………….126 5.2. Limitations of the Study…………………………………….139 5.3. Suggestions for Future Works…………………………….…140 BIBLIOGRAPHY…………………………………………………..144 xi LIST OF FIGURES Figure 1. Fidelity Related Entries Based on Episodic Periods for Aşk-ı Memnu……………………………………….…………….………45 Figure 2. The Graph About Distribution of Fidelity into Different Sections……………………………………………………………..92 xii CHAPTER 1 INTRODUCTION& LITERATURE REVIEW 1.1. Introduction Adaptations are so common in media. Fidelity is one of the issues in adaptation that many academics aim to interrogate as a measurement for an adaptation’s success; however, fidelity discourse is still common among audiences of adaptations. What is meant by “fidelity” is how closely the adaptation “fits” the mold of its acknowledged source according to various criteria.The focus of this thesis will be literary sources that have been adapted to Turkish television series. The most recent trend in the academic literature for adaptation
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