VYTAUTAS MAGNUS UNIVERSITY Sevda Melek Sancar WOMAN REPRESENTATIONS in TURKISH TV SERIALS Final Master Thesis

Home , ITU TV

VYTAUTAS MAGNUS UNIVERSITY FACULTY OF POLITICAL SCIENCE AND DIPLOMACY PUBLIC COMMUNICATIONS DEPARTMENT

Sevda Melek Sancar

WOMAN REPRESENTATIONS IN TURKISH TV SERIALS

Final Master Thesis

Journalism and Media Industries Study Program, state code 621P50002 Degree in Journalism

Supervisor: Prof. Dr. Kristina Juraitė

Defended: ______(Dean of the Faculty)

Kaunas, 2017

VYTAUTO DIDŽIOJO UNIVERSITETAS POLITIKOS MOKSLŲ IR DIPLOMATIJOS FAKULTETAS VIEŠOSIOS KOMUNIKACIJOS KATEDRA

Sevda Melek Sancar

MOTERŲ REPREZENTACIJOS TURKIJOS TV SERIALUOS

Magistro baigiamasis darbas

Žurnalistikos ir i in ustri stu i programa, valstybinis kodas 621P50002 Žurnalistikos stu i kryptis

Vadovas (-ė) Prof. Dr. Kristina Juraitė ______(Parašas) (Data)

Apginta ______

(Fakult to/stu i instituto dekanas/direktorius (Parašas) (Data)

Kaunas, 2017

CONTENTS LIST OF TABLES AND FIGURES ...... 2 LIST OF ABBREVIATIONS ...... 4 SUMMARY ...... 5 SANTRAUKA ...... 6 INTRODUCTION ...... 7 1. THEORETICAL APPROACHES TO MEDIA AND CULTURE ...... 11 1.1. Definition of Media and Culture ...... 11 1.2. Interaction between Culture and Media ...... 12 1.3. Media and Society ...... 14 1.3.1. Impact of Media on Society and Culture...... 15 1.3.2. Culture Industry...... 16 1.3.3. Popular Culture and TV ……………………………………………………….…....17 2. THEORETICAL APPROACHES TO REPRESENTATION ...... 19 2. 1.The concept of Representation ...... 19 2. 2. Media Representations ...... 21 2.2.1. TV as Medium of Representation...... 23 2.2.2. Narrative Structures in TV Serials...... 26 3. THE ROLE of TV SERIALS ON TURKISH SOCIETY ...... 29 3.1. Looking at Turkish Society through the TV Serials …………………………………. 30 3.2. Audiences of TV Serials in Turkey…………………………………………………….33 3.3. Wo n R pr s ntation in Turkish TV S rials ………………………………………...36 4. CONTENT ANALYSIS OF THE WOMEN REPRESENTATIONS IN TURKISH TV SERIALS ...... 39 4. 1. Research Design and Method ...... 39 4. 2. Analysis of the Women Representations in Turkish TV Serials...... 41 4.2.1. Kalbimdeki Deniz ...... 41 4.2.2. Aşk ve Mavi ...... 44 4.2.3. Anne ...... 47 4.3. Research Findings and Discussion ...... 50 CONCLUSIONS ...... 58 REFERENCES...... 60 ANNEXES ...... 70

LIST OF TABLES AND FIGURES List of tables

Table 1. General information about Kalbimdeki Deniz...... 40 Table 2. General information about Aşk ve Mavi………………………………………………..…..43 Table 3. General information about Anne ………………………………………………………….46 Table 4. Distribution of the actors and actress within the plot …………………………………….49 Table 5. General appearance of the female characters .………………………….…….……….….55 Table 6. Dressing style of female characters………………………………………..………………55 Table 7. Representation of the violence through the women characters…………………………...56

List of figures

Figure 1. Triangle of meaning ……………………………………………………………………..20 Figure 2. Concept of the representations diagram………………………………………………….22 Figure 3. Average daily TV viewing, 2011………………………………………………………...34 Figure 4. Top 5 Program Breakdowns – 2013/2014 Season……………………………………….34 Figure 5. TV viewing frequency according to the program genres between September and December in 2012 …………………………………………………………………………………..35 Figure 6. Genres of the serials which On-Air since Jun, 2014 ………………….……………...….35 Figure 7. Average Breakdown of the TV Series First On-Air Times per Episodes in 6 Leading Broadcasters- 2013-2014-Season …………………………………………………………………..38 Figure 8. Average Breakdown of the TV Series in total On-Air Times per Episodes in 6 Leading Broadcasters- 2013-2014-Season ……………………………………………………………….….38 Figure 9. D niz Öztuna …………………………………………………………………………….42 Figure 10. Hülya Aksal …………………………………………………………………………….42 Figure 11. Fikriy Yıl az ………………………………………………………………………….43 Figure 12. Diyar Sarıkaya ………………………………………………………………………….43 Figure 13. Mavi Gör çki …………………………………………………………………………..45 Figure 14. Refika Gör çki …………………………………………………………………..……..45 Figure 15. Safiy Gör çki …………………………………………………………………...……..46 Figure 16. Hasibe Yilmaz…………………………………………………………………………..46 Figure 17. Zeynep Gün ş…………………………………………………………………….……..48 Figure 18. Şul Akçay……………………………………………………………………….……..48

Figure 19. Cahi Gün ş……………………………………………………………………….…..49 Figure 20. Gönül Aslan……………………………………………………………………….……49 Figure 21. Distrbutiton of major role according to gender ………………………………………...50 Figure 22. Distrbutiton of minor role according to gender ………………………………………...51 Figure 23. Distrbutiton of age …………………………………………………………………...... 52 Figure 24. Martial status of female characters ………………………………………………...... 52 Figure 25. Educational background of female characters ……………………………………....…53 Figure 27. Personal traits of women characters ………………………………………………....…53 Figure 26. Distrbutiton of f al charact rs’ occupation ……………………………………....…55

LIST OF ABBREVIATIONS

BC Before the birth of Christ GMMP Global Media Monitoring Project OECD Organization for Economic Co-Operation and Development ITU Istanbul Technical University RTUK Radio and Television Supreme Council TRT Turkish Radio and Television TUIK Turkish Statistical Institute TV Television UK United Kingdom USA United States of America

SUMMARY

Media primarily just aimed at informing to the people, and it has started to increasingly influences and shapes all the social relationships, daily life practices and cultural values by times. Thus the media had gradually become an integral part of p opl ’s liv s since it first used, there is no doubt that television has been the most effective and wide spreading tool in re-shaping the cultural elements and traditional values. TV serials has played a key role transforming the traditional culture into the hegemonic media culture which produced by dominant majority. Because of this reproduced hegemonic culture, the effects of TV on the masses cannot be denied.

Turkish society has changed dramatically in the last 100 years and as a main communication tool, place and importance of television was considerable in this period of change. Thanks to effects of TV on society, TV serials have taken a lead in the process of reconstruction of Turkish society and adaptation of the desired changes into society. Such that, especially after the 90s, Turkish p opl ’s lif styl s, social an oral b haviors, attitu s an xp ctations about th s lv s and as well as about people from other social, ethnic, and cultural backgrounds have been shaped by TV serials in an unexpected way. In a sense, TV serials held up a mirror to Turkish society.

This thesis examines the representation of woman in Turkish TV serials. It focuses that how women are portrayed on screen and considers how this reflects widespread popular culture and expectations. At the same time, the study aims to explain the determining role of media in construction of the female identity in society and in transformation of existed identities by various codes such as gender roles.

SANTRAUKA

Žiniasklai a siekia infor uoti ž onė s, ir vis labiau laiko atžvilgiu įtako a ir formuoja socialinius santykius, kas i ninio gyv ni o patirtis ir kultūrin s vertybes. Nuo tada kai pir ą kartą atsira o žiniasklai a, ji palaipsniui tapo n atskiria a ž ogaus gyvenimo dalimi. Nėra ab oni , ka televizija buvo pats efektyviausias ir plačiausiai naudojamas bū as performuojant ir k ičiant kultūros l ntus ir tra icin s v rtyb s. Do inuo ančia bals augu a, televizijos serialai suvai ino svarb vai nį k ičiant tra icinę kultūrą į h g oninę žiniasklai os kultūrą. Dėl šios pri žasti s h g oninė kultūra ir t l vizi os pov ikis augu ai ž oni n gali būti n past bėtas.

Turki os visuo nė s arkiai pasik itė p r pastaruosius ši tą t , ir pagrin inės ko unikaci os pri onės, vieta ir televizijos svarba patyrė n ažai pokyči šiuo laikotarpiu. T l vizi a pav ikė visuo nę, o televizijos serialai arė įtaką reformuojant Turki os prisitaiky ą prie pag i au a pokyči . Ypač po 90-ū , Turki os ž oni gyv ni o stilius, socialinis ir moralinis elgesys, lūk sčiai api sav ir ž on s iš kit socialini , tnini ir kultūrini sluoksni buvo sufor uoti t l vizi os s rial . Ta tikra pras , tai buvo lyg Turki os visuo nės veidrodis.

Šis arbas nagrinė a ot rs pat iki ą Turki os t l vizi os s rialuos . Ja pagrin inis ė sys skiriamas moters vaizdavimui ekrane, kuris neatspin i plačiai paplitusios populiariausiosios kultūros ir lūk sči . Tuo pačiu tyri si kia a išsiaiškinti žiniasklai os apie ot rį kuria ą vai nį visuo nė ir gzistuo ančius i ntit to pasikėti us įvairiais kodais, tokiais kaip lyči vai nys.

INTRODUCTION In the last century, thanks to developing technologies, humanity became acquainted with new means of communications and since the day of it first invented, media has became an indispensable medium for our lives by expanded its' domain. The media products which produced in unlimited contents and formats, plays a key role for the formation of individuals' thoughts, behaviors and values, by reaching individuals through various media tools such as television, radio, newspaper and internet (Hobbs,1998). Moving from the fact that individuals are the carriers of national cultures that constitute a society, of course, with this key role, the media has moved beyond the individual to become to influence society and culture as well. The media substantially has continued its effects in the shaping of the social memory, formation of the meaning maps and the agenda setting for daily life. But the direction-changing production concept along with the industrialization has led to the emergence of capitalist economic systems and in this new order, the media has become a global actor of social, cultural, commercial, economic and political changes and conversions. This global effect has brought about the question of ownership by turning the media into an industry. So much so that, the increasing the monopolization of ownership has caused the priorities to change within the framework of economic interests. In particular, the gender representations has became to a problematic area by the means of media contents that have begun to be produced for profit-oriented purposes beyond informing the public and the mostly representation of hegemonic discourses. In the previous researches in the field of gender representation in media, it has been argued that how women are represented within different forms of media and the representation of women in media has always been an important ‘battleground’ for contemporary feminism (Zoonen,1994). When it comes to years 1970s research of mass media from critical feminist perspective began to examine the female stereotypes and ideologies that the media had been communicating to the public. These researches mainly had their focus on how gender is represented within the media. Feminist theories mainly centered on the following images; portrayals that were unrealistic and li it , pictur s of wo n as s x ob cts, “happy hous wiv s” th s of f al s as inco p t nt, portrayals of wo n’s’ p n ncy upon n an un rr pr s ntation of working wo n (Wasson, 1973). Mostly gender studies focus on the negative asp cts of wo n‘s portrayal, rar ly the positive. During this period especially Hollywood created the same type of movies which represents men and women in a traditional way. As Benshoff and Griffin (2004) emphasized these movies ignore the ideas connected with feminist movement, or promoting ideologies opposing feminist ideas. (p. 273). Furthermore, even in today “Hollywood still seems to represent gender in a way that still upholds a patriarchal privilege” (p. 288).

Most of studies have shown that women have been underrepresented and stereotyped in certain media contents such as advertising, movies, dramas and reality shows. If the advertising industry taking into account from the feminist point of view, it can be said that the advertising industry is directing by men who oppress women through the use of images of unattainable beauty (Saad, 2004). Some of case studies related with effects of the advertisements support the claim that women are portrayed in media as sexual objects that promote impossible beauty and thinness among its viewers (Saad, 2004). Today various contemporary advertising images continue to present women as dependent upon males' protection. According to Cultivation theory (Gerbner and Gross, 1973), the social realities of the individuals in regard to real world are shaped by the media. This is because, people tend to match the particular images which are in their own reality concepts through the stereotypes presented by the media. As result of many studies, it has become clear that the media have a determining role in the construction of female identity in society or in the interchange of existing identities by various coding. The fact that the conceptual framework of many studies which are done in this period, were shaped around the cultural paradigm, have revealed that the idea which is representations in the media is to constructs instead of reflects the social one. In the representation process, feminist media studies have interpreted that this "construction" situation as a reconstruction of women's positions which are already unequal within the social values system by the reason of stereotyping and subordinate or under-representation by media. So, media position the women as passive and submissive and it is a proof of the fact that the media is giving direction to the society with the representation of woman in many matters which are from the determination of woman's social position to the viewpoint of the society towards woman. Earlier studies show that men dominate as the main characters in TV programs more than women. Weigel and Loomis (1981) reported that women accounted only 34.5% of the characters in prime time TV programs during a period in 1978. Signorielli (1989) examined TV programs from the period of 1965-1985. Overall, the percentage of male characters portrayed was 71% but the percentage for female characters was only 29%. In 1991, Atkin (as cited in Elasmar et al. 1999) analyzed of TV programs from 1966 to 1990, with regarding to the developments of new trends for single women. He reported the trend that included an increase in the number of single women in management and professional positions, and a decrease in the number of women in assistant roles such as secretarial positions. In the latest study which is done through the examining almost 12,000 characters across fa ily fil s, pri ti progra s an chil r n’s t l vision shows by S ith t al. in 2015, it is found that men are depicted in a more positive way than women in television and film. According to the study, women appear less frequently than men in media, often sexualized and shown working 8 less often than men. In addition, the result of the study shows that men are about 4.5 times more likely than women to be portrayed as working in careers related to science, technology and engineering (Smith et al, 2015). As a consequence, considering the negative stereotyping of women in TV, these studies show that the media generally portray women in the traditional stereotypical roles of subservience allocated them by a patriarchal society and reshape the society's thought, behavior and attitudes regarding the woman through woman portrayals in TV serials. The main aim of this thesis is to analyze women representations in Turkish TV serials which are one of the most problematic areas in Turkish broadcasting life and also to determine what kind of women portrayals seen in the serials concerning the gender representation. In this direction, three Turkish TV serials which are Kalbimdeki Deniz (Second Chance), Aşk ve Mavi (Love and Blue) and Anne (The Mother) have chosen to content analysis.

Objectives of the study are: 1. Describe the relation between media and culture and examine the effect of media representations on culture and individuals. 2. Determine the representation theories and examine the theoretical approaches to gender representations in media. 3. Analyze the woman representation in Turkish TV serials within the context of gender representation.

Research Questions: RQ1. What kind of dominated women images are created in Turkish Serials mostly and how do these images particularly represented within the context of gender roles? RQ2. What is the role of the media, TV and TV serials in women representations? RQ3. How do media give direction to the society through the women representations especially in the matter of determination of the social position of women in society?

Research Method: By reason of the fact that the main objective of this study is to analyze the representation of women in TV serials, content analysis has been applied as research method to investigate that which kind of women portrayals seen in TV serials concerning the gender representation. With this analysis method it is aimed to find out how women represented through the women characters in three chosen TV serials and how these serials reflect social and cultural issues, values, and phenomena (Hansen et al. 1998 p. 92).

Structure of thesis: This thesis contains four chapters. In the first chapter, of focuses that what is media and culture and what kind of interaction is exist between them. In this direction relationship and interaction between culture and media has been examined, for the purpose of gaining a better understanding of how media has effect on society with representations. In the second chapter, representation theories media representations an TV s rials’ narrativ structur s are investigated. The third chapter dedicated to look at Turkish Society through TV serials. History of TV serials in Turkish broadcast life is examined first. After than TV viewing tendencies and women representations in Turkish Media are analyzed. And the last chapter is based on the analysis of the women representations in selected serials.

1. THEORETICAL APPROACHES TO MEDIA AND CULTURE

1.1. The Definition of Media and Culture

Media With the invention of printing press by Gutenberg in 17th century, there is no doubt that developing newspaper which is the first one of mass communication tolls, is the second development of the history of Communication which is as old as history of humanity after creation of writing in BC IVth century. By associating printing press usage with the process of passing to modern society from traditional one, Elizabeth Eisenstein (2005) states printing press as beginning point of tendencies towards modernization, industrial revolution and enlightenment with a mental change of people. Therefore, invention of printing press and emerging newspapers afterwards became a driving power for change, transformation and development of societies in a sense. When it came to 20th century, the concept of the media we have called mass media has emerged under the influence of the developing technology. The technological developments, one after another, were reflected in all means of communication and with rapid change, humanity was introduced to radio, television and internet in the same century. Mass communication tools which defined as tools that can distribute message in mass dimension in general, started to be called as media from 1920s (Briggs & Burke, 2004). Then, what is this media? And what comes to mind when the media is called? Mass communication tools such as newspaper, magazine, radio, television and internet can be depicted as media. Media, in the broadest sense, is channel between source and target in communication (Dök n, 2001). Striegel (1978) defines the media, “in t r s of a larg r ntity of infor ation an p rc ption which for s our thoughts, structures our experience, and determines our views of the world aroun us…provi [ing] th infor ation upon which w or r, or structur , th s xp ri ntial p rc ptions.” (p, 33). In 1930, invention of radio enabled us to transmit information to people far away, and thanks to developing technologies, humanity became acquainted with new means of communication such as television and internet in the same century. With development of communication technologies confronted people as fourth power to guide and effect public, at an unprecedented pace after legislation, enforcement and jurisdiction in democracies, since the day the media was invented, it has expanded its domain and then, it penetrated to every moment of life in every field and increased its influence on individual and society.

Culture Culture is current form of the word of “Cultura” which means to cultivate in Latin languag . M aning fra of th t r of “Cultur ” was us in aning of “to cultivat ” until R naissanc , but its aning has chang aft r using in th aning of “for ation, i prov nt, sharpening and glorification of hu an int llig nc ( sprit)” by Voltair . On th oth r han , Sa u l

Von Pufendorf, (as cited in Ritter, 1986) gave a social character to culture by defining it as intellectual and emotional developments of both the individual and society. In parallel with Pufendorf's culture definition. Bauman and May (2001) ascribed the culture as a humanitarian field of action in his book Thinking Sociologically. Starting from this point of view, everything that is product of human thought, emotion and product can be defined as culture. Malinowski (1960) expresses that the cultural products are formed from tools, consumer goods, various constitutional regulations, man-made thoughts and skills, as well as beliefs and morals. In this respect, folkways, rituals, moral norms, all kinds of social values and behaviors, also moral elements such as knowledge, spoken language and used symbols and clothes, articles, foods and all kinds of tools and equipment used in daily life an inseparable part of the culture. As being completely learned and socially transmitted behaviors as values, bases, traditions and habits shared by individuals, culture is a reflection of that own life experiences of people (Gün üz, 2015). Accor ing to Kazıcı (2006), what distinguishes societies from each other in terms of culture is not the instruments and tools they use, but the meaning they assign to these tools and instruments. From here, can be said that individuals' world of thought who live in a same society, their manner of life and relationships plays an important role in shaping the way that people express themselves. Thus, these forms of self-expression create a common culture in the society. In other words, “culture refers to the environment of people which is formed by themselves” (Koca aş, 2006, p.6).

1.2. Interaction between Culture and Media

Anthony Giddens (2002) describes culture as the values that members of society or a certain groups within a society have, the norms they follow, and the material goods they create; and society as ‘a system of mutual relations’ that shares common culture and holds individuals together. Fiske (1990) places the communication that provides of these interrelations as a sort of human activities into the culture, even to core of it. In this point, it is possible say that there is a link between cultural changes and media. Mass media, a result of technology, has encompassed our world today on all

12 sides. In this case, it is inevitable for the media to influence the individuals and to experience various socio-cultural changes and transformations as a result of this interaction. Media, especially television, is a powerful factor in this socio-cultural change and transformation. So much so that culture is raw material of media, processed by the media and transformed into the desired new form. From here, media can be deemed as both a reflective and a re-shaper of the actual culture. Postman (2006) argues that television which came into existence as a result of developing communication technologies leads to changes on entire culture According to Postman (2006), this area of impact created by television programs produced with various contents is not limited by culture only, but also it threatens public life and even disrupts ecological balance by producing new balances. Gerbner and Gross (as cited in Barrett & Braham, 1995) defines the t l vision “as a cultural ar of stablish in ustrial or r” (p.100). Media can reproduce the culture by modifying the displays as well as it reflects the culture of the community by using all cultural displays. In addition to being a means influencing the culture, television, in a way, adds new characters to the culture as an instrument of ‘cultural production’, enables the culture to be reproduced, transmitted, taught and thus to survive. Accor ing to Vural an Murat (2000), “ ia int grat s th in ivi uals to cont porary rules which are required for identification of mass life, by infusing the new ways of thinking and behaviour.” (p.107). In every society, there is a culture in the dominant structure that we can call national culture. The mass media, especially the television, has a collection of publications containing a variety of displays of the dominant culture structure of a society. Bergemann and Bonatti (2010) also emphasize that media products are socio-cultural values besides their economic value. Products such as film or music belong to the cultural heritage of the community. As a result, the transnational spread of programs such as TV shows, newscasts, reality shows, etc. carry the cultural items of one country to other countries. In this way, people meet with different cultures and become aware of the ethical and value judgments, cultural norms and life styles of the people of that culture. Thus, media contents bring an acculturation by influencing national cultures of the countries they reach. As a result, the media has an intermediary role in enriching and diversifying society in terms of culture. Potter states (2005) that, “in the XXI century people live in two different worlds, the real world and the media world” (p.61-62). Baudrillard (1994) emphasizes that the media play a fading role for difference between imagination and reality, argues that the images turn into a fiction separated from what they actually symbolized, and there is no connection with reality in the postmodern period. Unreal events are fictionalized and re-cr at with t l vision’s turn of phrase; so that a perfect world is created with the image created by hiding or modifying the facts and mounted structure. Of course it is expected that the culture gets its share in this perfect world. 13

Society's belief, moral values, laws, traditions and customs have now been transformed into a visual commodity that can be sold on television in new form. According to Çoban (2013), “ v ry o nt an v nt of aily lif , that is to say cultur , has b co a 'th atrical play as r sult of th s ” (p. 2503-2515). The audiences also watch this theatrical play with great pleasure. Postman (2006) explains this pleasure that television promises as:

“Lif , as w lik to say, is not a highway str wn with flow rs. Th sight of a f w blossoms here and there may make our journey a trifle more endurable. But what I am claiming here is not that television is entertaining but that it has made entertainment itself the natural format for the representation of all experience. Our television set keeps us in constant communion with the world, but the problem is not that television presents us with entertaining subject matter but that all subject matter is presented as entertaining, which is another issue altogether and the entertainment is the supra-ideology of all discourse on television. No matter what is depicted or from what point of view, the overarching presumption is that it is there for our amusement and pleasure” (p. 87).

Klapper (quoted in McQuail & Windahl, 1997) described the simple functions of media as, “provi ing r laxation, sti ulating th i agination, provi ing th vicarious int raction an providing a common groun for social int rcours “ (p.155). A lot of research has been done to see if Klapp r's attribut s in his argu nt ar r lat to p opl ’s n of watching TV. Lee and Lee (1995) in the research they had done to find answer to the question of why people watch TV, t ct that p opl ’s purpos of watching TV is t n nci s such as g tting away fro aily lif routine and relaxing.

1.3. Media and Society

The media takes its power from the capacity to reach large masses. However, the media reached its true strength in the 20th century, and this century has been the period in which media literally lived its golden age. Thanks to the developing satellite technologies, an instant transmission and reception have been added to qualities of mass media, in other words, providing instant communication function. Then, what is the impact of this instant communication function on people's lives? This immediate communication function lifted the geographical boundaries and time differences so that people becoming isolated with individualization that modernity had brought,

14 again came into contact with each other thanks to the global communication technologies provided by modernity.

1.3.1. Impacts of Media on Society Arthur Clarke (1992) stated that “our civilization coul not exist without efficient communications, because it is hard to see how international trade or cultural exchanges could flourish or exist in such circumstances” (p.19). He continued as follows:

“The human race has almost become a "single entity, divided by time zones rather than the natural frontiers of geography. The same TV news networks cover the globe; the world's markets are linked by the most complex machine ever devised by mankind -- the international telephone/telex/fax/data transfer system. The same newspapers, magazines, fashions, consumer goods, automobiles, soft drinks may be found anywhere between the North and South Poles; and at a World Cup Final, at least 50 per cent of the males of the species will be found sitting in front of a TV set, probably made in Japan” (p.15).

Becoming an indispensable part of our lives today, media has become an element affecting and also forming almost all of our social relationships, our daily life practices and value systems. According to Raymond Williams (1968) th t r of co unication is “institutions and forms in which ideas, information, and attitudes are transmitted and received and also is the process of transmission and reception” (p.17). McLuhan supports Williams' idea and he defines media as the determinant of human relations and social systems (McLuhan, 1962). Based on the fact that people living in a village have witnessed everything that is happening and they know all the events, media makes people learn every events without considering place and time thanks to television and other mass communication tools. And he (1962) points that, “th l ctro agn tic iscov ri s have recreated the simultaneous field in all human affairs so that the human family now exists under con itions of a global villag ” (p.3). In book The Medium is the Massage McLuhan and Fiore (1967) continue that: “Th iu , or process, of our time electric technology is reshaping and restructuring patterns of social interdependence and every aspect of our personal life. It is forcing us to reconsider and reevaluate practically every thought, every action, and every institution formerly taken for granted. Everything is changing - you, your family, your neighborhood, your education, your job, your government, your relation to ‘th oth rs’ and they are changing dramatically” (p.8).

According to McLuhan's argument, reproduction and consumption of every kind of meaning or information about human beings and life, are realized place through the means of mass media, which is an indication that media has a decisive role in perceiving social values of individuals. Fro this p rsp ctiv , ia ay aff ct au i nc s’ b li fs thoughts, otions, p rc ptions an behaviors. Because almost all the things we know, or we thought so about the world, are transmitted and tried to be embraced through daily newspapers, weekly magazines, radio and television, etc. (Koca aş, 2006). If we need to make and approach on this point; those who sit in armchair in defiance of these media facts, surely will take their course.

1.3.2. Culture Industry Culture is a form of collective consciousness that is formed as a result of individuals' interaction with other individuals in society in the direction of their own life experiences. This form is shaped by moral values and life style of that society. This form is shaped by moral values and life style of that society. In this point, for the culture it can be said that, it is all of the experiences of individuals in addition to being an intellectual process. Accor ing to Er oğan an Al ar (2005), “this local lif xp ri nc s, which consisted of direct interrelationships and belonged to certain geography once upon a time, has changed into a kind of ‘planned life experiences’ by imposed by a worl wi o inant ark t an ass ia” (p.22). Culture industry can be thought of as a market in which these planned experiences of life are produced. Concept of Culture Industry appears firstly in the book of Dialect of Enlightenment written by Theodore Adorno and Max Horkhemier together in 1947 that are among the thinkers of Frankfurt School. Adorno and Max (1972) focus on function of th cultur ov r th soci ty in capitalist syst an xplain th capitalis ’s transfor ation of culture into a control tool with concept of ‘culture industry’. Hegemonic power, government or capital in modern societies; have always resorted to culture in order to direct people and to keep them under control have used it as a continuous control mechanism (Gurkan and Alper, 2012). However, power holders have taken this control of culture a step further and changed extent of culture. However, power holders have taken this control of culture a step further and even changed extent of it. Thus, culture has became a consumption product and started to be marketed through the media. The culture industry has gained a new extent with TV and transformed from audial extent to visual extent (Kaplan, 1993). According to Bourdieu (1997) in the modern world television has turned into a formatting medium, out of by being a mass medium. Bourdieu (1997) refers to the TV's features and he states that TV formed and reflected of the facts in desired direction:

“T l vision can hi by showing para oxically. That is, it can hi things by showing something other than what would be shown if television did what it's supposed to do, provide information. Or by showing what has to be shown, but in such a way that it isn't really shown, or is turned into something insignificant; or by constructing it in such a way that it takes on a meaning that has nothing at all to do with reality” (p.19).

The main purpose of the culture industry is to control the feelings and desires within the system and direct the individuals to this direction. In order to accomplish this, in television the negation/dignification relations between different and dominant mostly established through the stereotyping. (Özsoy, 2006). According to Stuart Hall (1997) the stereotype is formed by reduction of all features and qualities of a person to certain features which contains the style that belongs to the him, and stabilizing of these properties in a way that disallowance to changes as far as possible. Stereotypes transfer the social and cultural features of a particular person by glorifying, condescending or detortioning, thus, it can be said that an absolute discrimination with regard to this person comes out of. Because of this reason, the representations which are made mostly through stereotyping can be appearing as misrepresentations.

1.3.3. Popular Culture and TV As a result of Industrial Revolution and technological developments that followed, mass media have become widespread all over the world; humanity is surrounded by mass media in the century we live in. Mass media, in other words the media, has assumed a locomotive role in r aching th capitalist ai s of th in ustrial soci ty or r. In this ir ction, an “i al” co on lif mode and common culture is formulated with aim of bring people from each class together by eliminating the class differences (Öğüt, 2008). This common culture produced by the media is popular culture. Stuart Hall argues that certain formations and dominations must not be achieved by ideological hardship but by cultural leadership. This leadership in the culture industry is undertaken by the media. However, main purpose of the media in creating popular culture is to provide financial gain. It allows the product to reach large masses by reflecting popular culture items to the society and promoting their use. Popular culture products come into existence when adopted by large member of the society. In doing so, popular culture doesn't need to target knowledge, aesthetics or excellence, since the aim here is not to offer society what is good and true, but rather to make the product reach or p opl (Gön nç, 2012). Popular culture, ignoring class difference, changes the direction of status difference between individuals with the products which are popularized for total consumption. Together with popular culture, concept of status is measured by having popular culture products. Crane (2000) interprets 17 buying of th fa ous bran s' i itations fro istrict bazaars as “ sir of th in ivi uals to cli b th social la r”. So much so that buying a brand in a consumer society, which is constantly fed by mass culture, is an intermediary for the individual to create a certain identity. As a result of social standardization made in this way, standard consumption behaviours of popular culture, in other words mass culture, constantly affects the society. Popular culture products can be in many different forms. These may include clothing style, entertainment, sports, music, books, eating habits, as well as celebrities and institutions. All of these products are produced and distributed by the media as a ‘trend’ consumption object According to Rabassiere products of the popular culture are something like drug and people establish an emotional a relation with these products due to that they are afraid to face their own emotions in real world. He stated (1960) that the real reason of the individual's to have emotional relationships with the products served by the media can be defined as people's longing to a different world. Popular culture products are such effective over the individuals to impose desired ideas and changes with promising instant pleasures. Herbert Marcuse (as quoted in Swingewood, 1977) claims that:

“Th xp rts of th ass ia trans it th r quir valu s; th y off r th p rf ct training in efficiency, toughness, personality, dream and romance. The 'manipulated consciousness' of modern man thus means almost total ignorance of world affairs: 'The overpowering machine of education and entertainment unites him with all the others in a state of anesthesia from which all detrimental ideas tend to be excluded. Thus, the individual is incapable of conceiving a social worl iff r nt fro his own” (p.15).

As a result of this, popular culture has occupied the human life and individuals started to sustain their lives with the values that reflected by popular culture (Yaman, 2016). Furthermore, even it has become a key factor in the process of formalizing of the gender roles within the desired forms by media in the context of social issues. As Ç l nk argu (2010) th ia r -produce the wo an’s w akn ss an transfor ing th f al bo y into xploitation ar a by co o itization. So, the women's identities from now on are trying to be re-produced with popular culture products such as TV serials, movies and advertisements. So much so that, these re-produced woman identities are determinant over the viewpoint of society related to reconstruction of women's positions in society which is already unequal on the occasion of subordinate or under-represented and stereotyping by the media within the social values system

2. THEORETICAL APPROACHES TO MEDIA REPRESENTATIONS

2.1. The Concept of Representation

The Shorter Oxford English Dictionary (as quoted in Stuart Hall, 1997) defines the r pr s ntation conc pt as follow: “To r pr s nt so thing is to describe or depict it, to call it up in the mind by description or portrayal or imagination; to place a likeness of it before us in our mind or in th s ns s” (p.16). Starting from this view, Hall (1997) describes the concept of representation as ‘process of making meaning’ that constructs and transmits the meaning and he also defines it with a "glass" example as follow:

“If you put own a glass you ar hol ing an walk out of th roo , you can still think about the glass, even though it is no longer physically th r . Actually, you can’t think with a glass. You can only think with the concept of glass. You can’t speak with the actual glass, either. You can only with the word for glass -glass- which is the linguistic sign which we use in English to refer to objects which you drink water out of. This is where representation comes in. Representation is the production of the meaning of the concepts in our minds though language. Is is the link between concepts and language which enables us to refer to either ‘real’ world of objects, people or events, or indeed to imaginary worlds of fictional objects, people and events” (p.17).

Laughey (2010) states representation does not only represent reality, but it also contributes to the production of the meaning of reality In this context, representation is a process that takes part in the process of meaning by producing meaning and enabling the exchange of meanings by using verbal, written or iconic indicators, rather than a process that reflects what already exists in the "real" material world (Ç l nk, 2005). Hall (1997) tak s this r pr s ntation as a ‘constructivist representation approach’ an suggests that the language constructs meaning. Language uses signs to express, in other words represent all kinds of objects, entities and concepts. Function of these signs that we can define as words is to give meaning to things through language. So the words are representations and representation is people, nature, concepts, in short, how we understand the world we live in and how we transmit it to other people. In oth r wor s, “representation is production of the meanings of concepts in our minds through the language” (p.17), and in a way that “it is production of meaning by practice, namely by presentation.

On the other hand, Hall (1997) argues that, “th r is th syst by which all sorts of ob cts, people and events are correlated with a set of concept or mental representation which carry around in our hands and without them; we could not interpret the world meaningfully at all” (p.17)

Figure 1: Triangle of meaning (Almeida et al., 2011 (adapted from Ogden and Richards, 1972)

As it seen at the table above, production of meaning through representation depends on the relation between objects, people, concepts, experience and conceptual system which is their mental representation. Because representation does not only produce meaning to the process of meaning, but also ‘code’ what is already in the real material world using verbal, written or iconic indications (Ç l nk, 2005). Accor ing to Hall, (1997) th fact that th aning is not fix in natur an that it is constructed by people with the representation system and fixed by codes, shows that the codes make a relation between our conceptual system and our language system. Because of this reason meaning depends on the system of concepts and images formed in our thoughts which can stand for or represent the world enabling us to refer both inside and outside our hands (Hall, 1997). The code is a system of meaning shared by all members of a culture. It consists of both indicators (physical signals that characterize something other than themselves) and rules or conventions that specify in which contexts and how these indicators are to be used and how they can be brought together to create more complex relationships. The fact that a human being is a unique entity requires that the mental concept maps be shaped only in his / her own way, unlike the other individuals. Therefore, the process of perceiving or making sense of the world by using each individual's own mental conceptual map is different from that of other individuals (Hall, 1997). For this reason, Hall suggests that individuals must share the same conceptual map substantially to share their ideas and communicate with each other. At the point of creation of common conceptual maps, culture steps in. People of the same culture share the same concept map and perceive the

20 world in a common language, but Hall (1997) declares that the common concept maps are not always sufficient, that a common language is necessary so that meanings and concepts can be represented and shared:

“Our shar conc ptual ap ust b translat into a co on languag , so that w can correlate our concepts and ideas with certain written, spoken sounds and visual images. The general term we use for words, sounds or images which carry meaning is sign. Signs are organized into languages and it is the existence of common languages which enable us to translate our thoughts (concepts) into words, sounds, images, and then use these, operating as a languag , to xpr ss anings an co unicat thought to oth r p opl .” (p.21)

2.2. Media Representations

Of course, if we take the fact that essence of language is communication, we can reach the result that the representation system of the m ia is pr o inantly bas on ‘language’ Stuart Hall

(as quoted in Curran, et al. 1977) argues that the production of symbolic messages is not possible without passing through the transmission of the language, which is the system of signs that convey meaning, and that reality can only be represented by being produced through linguistic practices. At this point, it will be inferred that assigner of the meaning is not the material world, but the language syst w ar using to r pr s nt our conc pts (D irtaş, 2004). If we consider the media as a system of representation, media is not only a representation but also it constructs social knowledge during the representation of any content in the media. In other words, the media builds a powerful order over the society by various influences. From this viewpoint, media has undertaken an active role in the system as a form of representation, not just as a transmitter or an 'influencer' of social change, but also as a 'constituent'. With reference to its idea that the media reproduced the reality in line with its own structural characteristics, beside reflecting it, representation in media refers to how an event, person or situation is understood in media, how it is defined and what different meanings are excluded, suppressed or marginalized, rather than how an event, person or situation is r fl ct (Ça , 2008). From the point of that the construction and reproduction of social reality by mass media, it can be said that media determines priorities of people on the topics in which their interests and attentions are directed by interpreting particular events and subjects with the language and patterns it uses (McLeod et al., 1991). Kathryn Woodward (1997) states that media representations include practices of meaning, which position individuals as subjects and symbolic systems in which

21 meanings are produced. According to Woodward representations presented through these practices, reflects of behaviors that individuals will model and in a way give information about how feeling to be in a certain subject position is. While individuals are consuming media content, they also tend to learn, imitate, and internalize behavioral models and lifestyles (Varol, 2014). As a result of these trends, individuals' personal pleasure, desire, value judgments, way of establishing relationships with other individuals and their skills are redrawn through the models presented in the media.

Figure.2. Concept of the representations diagram (Burton, 2002)

According to Graeme Burton, by this way perceptions and thoughts of the individual about himself and rest of the world become compatible with the representations in the media. That is to say, media through representations reflects positions of individuals in real life and the meaning attribut to th an shap s p rsp ctiv of p opl on worl , soci ty an p opl (Tanrıöv r, 2007). Burton (2002) describes how representations in the media affect individuals' perceptions of identity as follows: “Groups of p opl ar r pr s nt in c rtain ways through th ia. This representation also helps create the idea that people are defined as belonging to certain groups. So it seems that the media organize our understanding of categories of people and about why certain people should belong to certain categories. These categories become part of our thinking process. We use them to judge people in the real world as well as in the media. Such categories are called perceptual sets. So representations of people in the media help build and maintain these perceptual sets, which we use in everyday life” (p.133-136). The media have important functions in mind structuring and cognitive schemes of individuals with the power of orientation and influence because of the representations they offer. These tools, besides developing or excluding certain discourses, regulate discursive fights by 22 supporting or declining legitimacy claims (Fowler, 2013). At this point, Hall (1985) argues that the notion of representation in the media can not be handled independently of ideology. He indicates that ideology which is a social practice is represented in the interaction of meaning and representation. For this reason, the production of symbolic messages is possible by the transfer of the language, ie representation, which is the system of indicators which convey a wide range of meaning (Hall, 1997). Van Dijk (1992) defines the ideology as, a complex cognitive framework that supervises the formation, transformation and application of other social cognitions, such as knowledge, beliefs, attitudes, and social designs, including social prejudices. Starting from this, it can be said that media discourse is the main source of knowledge due to production of attitude and ideology of the society through representation in the media. In other words, the media legitimizes power relations and practices through the practice of representations that are constructed within the power relations in the society and reproduced and pres nt to th public (Kös , 2011).

2.2.1. TV as Medium of Representation While Van Zoonen (1994) calls the all mass medium the central location in which the struggle over the meaning takes place, Andersen and Taylor (2012) centered the television between these locations. They state that the media especially TV shapes our definitions of ourselves and the world around by exposing us to numerous images and what we think of as beautiful or not, politically acceptable and materially necessary is strongly influenced by the media. Television, the most powerful 'meaning production center' of the modern world, is extremely successful in imposing its own reality on any subject it deals with. As Kozloff (1992) says, t l vision is “th gr at st story t ll r” (p. 67), which aims to make a deeper impression by sending messages in the story rather than telling people directly. However, what is presented to the audience during this narration, of course, will not be pure reality, but the reality will probably be distorted repeatedly in the narrative and representation process, so that the community expectation will be reshaped in the direction of the demands of the producers and investors. The primary factor in shaping of the stories which is told through television is the anticipation of the audiences. Mcluhan (1972) underlines that, “T l vision an s participation and involvement in depth of the whole being. It will not work as a background, it engages you” (p.25). Fourie (2001) explains this as follows: “The fact that the characters are stereotypes, it is related that the audiences have knowledge about necessity of how to behave in order to be accepted in society” (p.77). In other words, the audiences also look for data on how the messages should be on the television. According to Fourie, there is a fictional reality on television that the half of the viewers wanted to be a part of it and this situation lets to TV turn into a source of a joy for the viewers. This participation makes the audiences a partner for the reconstruction of reality and the 23 audiences gladly accepts this change which will be seen in both their minds and behavior. Although still, television can reach any individuals regardless of age or gender and influence them, but as McLuhan and Fiore (1967) claimed that still there are so many people who feel that their identity has been threatened while watching TV. Kahraman (2005) defines the result of the interaction between television and audience as destructive communication and he underlines that, “In ivi ual stays in a dilemma in the point of distinguishing how many of the facts presented to him on television belong to him and how many of them are abstracted” (p.276). T l vision li its in ivi uals’ lif xp ri nc s by r shaping th ir cognitive perception through various representations. Thus, an individual who is exposed to media messages compares the experiences of his/her life and media communication, and mostly abandons his/her experience and adopts media experiences (Tyner, 1993). In this process television contributes to modern man to create world-related imagery through system of various indicators. The system of indicators is created by the media according to the way that individuals organize their thought systems, but the images conveyed through these indicators are not reality’s itself, but an illusion. According to Baudrillard (1994) television presents a kind of simulation universe at this point. “In this si ulation univ rs , th r is now nothing r fl ct on th scr n, an thus th p rson feels like he or she is standing behind a sort of mirror without foil. As a result, people are forced to live in this illusion world, namely simulacra which seems to be impossible to get rid of it, with these indicators in a way simulations, put in the place of reality” (p.76-91). Television has enabled many researches on effects of television, by being the most effective medium to change the way of life and culture by influencing individuals' thinking system. It has been found that "content analysis" and "opinion-attitude surveys" conducted about television revealed that television programs have deformer effects on many social realities, such as family, education, social pleasure, sexual preference. Moreover, these investigations have shown that messages contained in various television programs have provoked tendencies to commit crimes in the society and have had an effect on increasing violence incidents (Arslan, 2006). George Gerbner began his research project called "Cultural Indicators Project" in the 1960s to investigate whether watching television are influencing audience's thoughts about everyday life. Gerbner (as quoted in Dance, 1967) says that, “communication is the most uniquely "humanizing" element of the pattern and it is unique especially in its symbolic representation and re-creation of aspects of the human condition, in forms that can b l arn an shar ” (p.41). Accordingly, the media plays a key role in determining what these symbols and representations reflect about reality of life, as well as how social values, relations, personal choices and priorities are covered or left out. It indicates that human beings are made up of stories that are internalized, imposed or transmitted by all the realities

24 of life. Gerbner et al. (1986) point to television as the biggest story-teller at this point and voices that the most important feature of television is story-telling as follows:

“T l vision is a c ntraliz syst of story-telling. It is part and parcel of our daily life. Its drama, commercials, news and other programs bring a relatively coherent world of common images and messages into every home. People are born into a symbolic environment with television as its mainstream. Children begin viewing several years before they begin reading, and well before they can even talk. Television viewing is a both shaper and a stable part of certain life styles and outlooks” (p.18-23).

Gerbner (1969) argues that television has a kind of cultivation function in the cultivation theory that he creates with the movements from these determinations and cultivates attitudes which will aff ct au i nc s’ consciousn ss to influ nc th ir futur pr f r nc s. Th conc pt of cultivation is an intentional attempt to place and nurture a certain thing (psychology, culture and ideology) at a certain place (audience consciousness). The use of television, generally not according to program choice of audience but also in all times available, make most of audiences in readiness situation to absorb from cultural texture of the world of television (Gerbner, 1986). Such a state of readiness has been observed more in viewers who watch television much more than others (light viewer). According to Gerbner's argument, people who watch too much television are more affected than those who watch television less than symbolic world created in television programs. As television watching time increases, heavy viewers move away from the real world and are influenced by this symbolic circle. Gerbner (1969) defines collective consciousness as the result of this symbolic cycle in Toward Cultural Indicators as follows:

“A ssag (or ssag syst ) cultivat s consciousn ss of th t r s r quir for its meaningful perception. Whether I accept its "meaning" or not, like it or not, or agree or disagree, is another problem. First I must attend to it and grasp what it is about. Just how that occurs, how items of information are integrated into given frameworks of cognition is also another problem. My interest here centers on the fact that any attention and understanding cultivates the terms upon which it is achieved. And to the considerable extent to which these terms are common to large groups, the cultivation of shared terms provides the basis for public interaction. (p.139)

Cultivation theory suggests that TV plays an i portant rol on vi w rs’ attitu s, b li fs an u g nts about social worl . Through th TV, so r quir nts ar cr at in p opl ’s 25 thought and then some formulas are presented to them to meet (Gungor, 2011). These formulas have their plac sp cially in TV s rials’ cont nts. Wh n look at th statistics about habit of watching TV s rials in Turk y, it can b sai that th G rbn r’s cultivation th ory occurs in Turkish serials without doubt. So much so that, people who spend much of daily life by watching series in TV, are beginning to exist like those that they watch over time because they are exposed to themes and sub-texts which are constantly and unceasingly constantly unaware of fact that they entered to the coverage of TV (Karabiyik,2012). For example, if we consider that almost 381 TV series broadcasted in a week in Turkey, the presence of people who made a death announcement on newspaper when a series character died, also performed a funeral prayer in his absence, is an evidence that the social relationships are getting weaker and depending on that people in real world change place with people in television.

2.2.2. Narrative Structures in TV Serials Ellis (1984) and Feuer (1987) define the TV as a brand-new form of the narrative history. Ellis (as quot in İnal, 1999) stat s th charact ristics of TV narrativ as follows;

“On t l vision, th visual in icators which ar instant call out to vi w rs ir ctly. In this way the distance between the viewers and the text is annihilated. The TV that uses present time calls out to us, to the family who live at their home and it adjusts routine of our daily life. After a while we start to get used to characters in the TV serials. These characters get changed and transform in the unending metanarrative structure of TV. The narrative of TV which flows in piece combine the different narratives in the common ground and this narration structur also shap s th way of aking aning an r pr s ntation” (p.255-286).

Fiske (1987) has made a distinction for to understand the narrative structure of television and to use it in text analysis, and he found that the meanings in TV's own narrative structure is made in two-dimensional interaction as paradigmatic and syntagmatic. According to him, events at the syntagmatic dimension connects to each other by the cause and effect relationship, with this way it is aimed that to make the events meaningful and understandable. In paradigmatic dimension, the chains of events which emerge in the syntagmatic dimension are evaluated in a certain context and integrity (Fiske, 1987). In other words, from the syntagmatic angle, meaning in TV narratives can be formed by combining the factors such as sound / tone / music / camera angle / light and fiction

1 http://www.milliyet.com.tr/ekranlarda-kac-dizi-var-/cadde/ydetay/2344016/default.htm

26 alongside the image. And thus the story telling process which defined with paradigmatic angle is completed. F u r (1987) charact riz s th s rials an s ri s’ as o inant narrativ s on TV an h stat s that the TV has produced and developed its own narrative form. In his book ‘Genre Study and Television’ he discussed these genres as more open texts than traditional novels and films. According to him the distinct popularity of these genres comes from their ‘openness’. He also underlines that these genres have a script / plot with no start or end. So they are continuous, consistent and open-ended following into the next episode. Television has lots of different narrative structures. While these contents are represented by many different forms and narrative forms, they mostly are in the form of dramas. ‘TV series’, ‘TV Serials’ and ‘Soap Operas’ are among the popular narrative forms of television. TV serials are usually fictional and ongoing story. Every serial has episodes which are broadcasted every day or every week on TV. Each episode gears towards the central storyline with the same characters from week to week and the plot in each episode is related with previous or following episodes. TV series is a TV show that has its own particular shape, structure, and style in multiple different episodes. A series can contain the same characters throughout, but each episode has a different story or plot which starts and ends in that episode. Sitcoms or detective and mystery series are example of TV series. To sum, "serial" implies that there is a continuing plot and cast from one episode to another, whereas "series" could be any group of shows that are related and the story from one episode does not usually carry over to the next. Lopez (2000) stat s that, “soap op ras ar narrativ s without resolution which make a s nsation with th ir narrativ styl an th story/plot go s on an on” (p.58). Allen (1985) defines th soap op ras as “ ra atic s rial progra s that ar conc rn with o stic crisis, oft n f aturing little action but much s nti nt” (p.9). In a s ns , soap op ras al with practical xp ri nc s of everyday life. Soap opera plots and storylines are usually around family life, personal and sexual relationships, emotional and moral conflicts. According to cultivation theory the TV cultivates people's beliefs about the way life is and which values are significant through the presentation of basic assumptions which are in sum total of interactions, behaviors and values present in television content. Stated in other words, television aims to socializing the people into standardized roles and behaviors by influencing viewer's concepts of social reality. It accomplishes this especially through TV series, TV serials and soap operas. Buerkle-Rothfuss and Maryes (as quoted in Ahmad, 2012) argu that “th r is an i portant r lationship b tw n what a p rson watch s on soap op ras an what he or she believes to be true about those aspects of the real world which tends to be portrayed with xagg rat fr qu ncy on soap op ras” (p.6). So much so that TV series create a new world through fictional facts that strengthen the viewer's sense of believing. It promises a fictional life- 27 space, which classroom, gender and ethnic differences and power relations are reproduced, by removing the viewers from their own social reality. The only freedom of defenseless individuals, who sit in front of the TV, is the freedom to choose from among the countless amounts of contents that they wish to watch.

3. THE ROLE OF TV SERIALS IN TURKISH SOCIETY

3.1. Looking at Turkish Society through the TV Serials

In order to better understanding of how and why the TV serials represent certain aspects and events in Turkey, it has to be done an in-depth analysis of the historical evolution of Turkish Broadcasting. Accordingly, it is necessary to look at the historical evolution of Turkish Serials to see the underlying concept of media representations, as well as to provide a link to ideological streams in Turkish Media. Herein serials considered as the locomotives of Turkish Broadcasting have had an important role as a reflector / shaper of social life since first aired. Today it is possible to make a definition of a social-cultural phenomenon for Turkish TV Serials (Tanriover, 2005). The textual characteristics of TV serials, perceptions of the serials by the audiences and representations of the everyday life practises in TV serials, in other words, transferring of these daily life practices to the real life by individuals over the media play a major role in emergence of this phenomenon. In the 1960's, when the world was blessing the TV as a godly machine, the fact that Turkey was still contented with radio can be explained by the fact that investments in television technology could not be taken into the government program because of the need for excessive expenditure. Therefore, in the First Five-Year Development Plan, the investments made in broadcasting were limited to radio only. In the second Five-Year Development Plan covering the period of 1968-1972, the subject was handled and it was decided that the establishment of the television data stations. Before the second Five-Year Development Plan, the first TV broadcast was held for educative purpose at Istanbul Technical University in 1952 (İlikan, 2013). The broadcasts have b n on fro th univ rsity‘s high fr qu ncy laboratory for th stu nts of th Faculty of electrical engineering. Then, ITU TV was transformed to TRT (Turkish Radio- Television) with the law that passed from the parliament in 1964 (Serim, 2007). In 1968, Turkish Radio and Television Corporation made the first TV broadcast as a test on January 31. The broadcast was done in three days and three hours in a week and only for the residents of Ankara (Creatonic, 2002). In the following years, along with the technological developments, Izmir (1970) and Istanbul Television (1971) was established. As Aksel (2011) emphasized, from the 1970s onwards, the local adaptations of the foreign serials began to appear on the TRT screen, and thus the concept of serials was introduced to Turkish society. Uzay Yolu,(Star Trek) Pembe Panter (Pink Panter) and Tatlı Cadı (Bewitched) are some of the first foreign serials aired. In 1974 first serial of Kaynanalar (Mother in law) broadcasted. This serial was a situation comedy, in which compliance problems of a wealthy and traditional family

29 had after migrating to Istanbul are treated in a funny way. In addition to being the first domestic serial to be broadcasted on Turkish television, Kaynanalar Serial is the longest running serial of Turkish serial history with 950 episodes broadcasted for nearly 30 years.2 While Nuri and Nuriye Kantar couples, who are the main characters of the series, cannot break away from traditional ways of life, their urban parents-in laws of their children contrast them with their modern habits. These two completely dissimilar families were the representation of traditional rural life and urban modern life values in a sense. If we handle the increasing migration from rural to urban in Turkey in the years when Kaynanalar were broadcasted, members of Kantar family are the reflection of Turkish people who have difficulties to get their place in city life by immigrating to metropols such as Ankara, Istanbul and Izmir. After the first examples in the 70s, especially in the 1980s, the literary adaptation serials had wide coverage on TRT screens. Küçük Ağa (Little Master) (1984), Kartallar Yüksekten Uçar (Eagles Fly High) (1985), Çalıkuşu (Lovebird) (1986), Hanımın Çiftliği (Lady’s Farm) (1988), Yaprak Dökümü (The Fall) (1988) can be given as examples of such serials of 1980s. In 80s, developments in communication and information technologies have led to a technological revolution in the full sense of the word. Thanks to use of satellite technologies and other tools, especially publishing has become its international form. Right here, Turkish television broadcasting would be re-evolution in the light of ‘privatization’. Turgut Özal th Pri inist r at that time has let to free market practices, establishment of dynamic capital markets and the trading with international investors (Karagoz, 2009). So, the first privatization practices were brought into action with the 'transition to the market economy' within the scope of Economic Decisions of January 24, 1980. In parallel with these developments, in 1990's private television channels started to broadcast life. From 1990, 'monopoly' position of TRT which was in an effort to build a national identity was eliminated by privatization of the media, the process of reorganizing the media in Turkey began with th various privatization initiativ s in th ia s ctor. Yıl az (2009) co nts this proc ss as follows: “When the reconstruction and reorganization of media in Turkey and the development in communication technologies are taken into account, the private broadcasting process was perceived as a period of democratization, pluralisation and polyphony in Turkey. This perception of relational linkage of representation of media and cultural identities expresses the multiplicity of content and representation beyond the pluralisation of ownership. The reason for this is that, the emergence of the broadcast organizations that support the liberal capital by broadcasting in every formats and contents without ideological

2 http://www.trt.net.tr/Kurumsal/Tarihce.aspx 30

concerns, as well as channels centred on a particular cultural identity broadcasting policy that specialize in program type or target mass (p.171, 172).

Ç l nk t al. (2000) group ra atic narrativ s un r th fiv h a ings by referring to the fact that variety of forms and contents in television programs emerged with the transition to private television broadcasting in 90's. Accordingly:

“1) Family serials: The serials based on a certain family and advance in the axis of relations and conflicts between family members, relatives and their social environments. 2) Community serials: The serials about community relations in urban living areas like apartment or neighbourhoods. 3) Singer, artist serials: The serials focused on a famous singer or artist as main character and mostly produced from his life story or a popular song. 4) Serials that focused on business life and business relations: The serials about the challenges faced by educated, middle or upper middle class people, usually police, lawyers or press members, to illuminate a particular crime, the risks they face in the context of this struggle, and their relationship to other people in the business community. 5) Serials about lives of rich people: The serials about relations between upper and middle- class p opl in th fra work of lov , on y an pow r struggl ” (p, 23-46).

When themes of the main serials aired in these years are examined, it is observed that family and neighbourhood are blessed, and the families are centred in the story. Perihan Abla (1986), Bizimkiler (The Kids) (1989), Mahallenin Muhtarları (Curtain Twitchers) (1992), Süper Baba (The Super Dad) (1993) are some of these serials. The serial of Perihan Abla (The Sister Perihan) particularly stands out from the point of gendered representations. Character of Perihan, a beloved elder sister of the neighbourhood who had to look after her two siblings, presented to a different perspective by portraying that it is possible for a woman to stand on her own feet within the plot of a comedy serial. On the other hand, this TV serial emphasized the most known stereotypes in woman representation such as self-sacrificing and mother hen sister who fights against difficulties. On March 1, 1990, Star TV of Magic Box Incorporated, a Liechtenstein-based company, started broadcasting and hereby the commercial television broadcasting officially started. Show TV on March 1, 1992, Cine 5 on March 1993, ATV on July 1993 and Channel D on December 19, 1993 started broadcasting. The increased number of private channels and the necessity of diversity have also led to an increase in the domestic serials as well as in many types of programs. Bir Demet Tiyatro (One Bouquet of Theatre) (1995), Çiçek Taksi (The T-stop) (1995), Tatlı Kaçıklar (The 31

Crazy Cute Men) (1996), Kara Melek (Black Angel) (1997), İkinci Bahar (Second Spring)3 (1998) ve Yılan Hikayesi (The Endless Story) (1999) are some of the popular serials in that period. 1990s were the years when the place and importance of the TV serials in Turkish people live has increased. Towards the end of 90s production of the domestic TV serials reached a record high. As Tanrıöv r (2012) says, "fro this p rio onwar s, Turkish t l vision au i nc s al ost co pl t ly abandoned the for ign TV s ri s clai ing ‘univ rsality’ an conc ntrat to o stic TV s rials, by watching those serials almost in every evening as the most prominent TV program after dinner inst a of oth r r sting practic s” (p.48). The main themes of TV serials in lat 90s w r al ost sa with 80s’ TV s rials. Th ir stori s ar c ntr on fa ily an n ighbourhoo too. İkinci Bahar (S con Spring) which is on of the important serials of the period includes the notable women representations. The plot was based on th ain charact r Hanı , a singl wo an who struggl to surviv with h r two a ult chil r n. Hani tri s to fight for h r rights at work an sh o sn’t want to tak th asy way out by g tting married like her fellows who see the second marriage as the only alternative to salvation from the isa vantag s of b ing wi ow. On th oth r an Hanı ’s aught r has a chil r n out of arriag , but Hanim supports her daughter instead of refusing her or approaching with violence. From the perspective of familial affairs, the matter of second marriage of a widow, extramarital affair and have a child out of wedlock were assumed acceptable by Turkish society through this serial. The most striking feature of domestic serials, broadcasted after 2000's, is their appearance as new productions in the form of differentiated genres and subgenres. Domestic TV serials which were produced in comedy, melodrama and adaptation forms from 1970s until 2000s began to produced as subgenres such as horror, detective and historical serials from 2000s. In these years, the number of productions, especially mafia, landowner and ‘töre’ (Moral Laws) serials have increased, while the productions and melodramas we have defined as family sequences have continued to exist. Accor ing to Yağcı (2011) a cons rvativ iscours which bl ssing “th tra itional Turkish fa ily” has b n an i portant pillar of Turkish TV ra as starting fro th arly 1990s, but wh n it comes to years 2000s, this traditional family structure has became visible literally with serials which portray the still-continuing f u al syst in South ast Turk y by th ir stori s. As alı Konak (2002) was the first example of this kind of TV dramas. After, Kinali Kar (name of a Turkish village) (2002) Zerda (a Turkish name) (2003) Gurbet Ka ını (2004) (Th Wo n Away Fro Home) were broadcasted. In these serials women have been beaten up, abused, harassed, and subjected to out- at tra itions un r th “Tör ” (Moral Laws) (Mutlu, 2013), .as p r th sc nario and Turkish viewers watched this without any reaction.

3 Colloquial term for being in love in your 50s-60s 32

In these melodramatic TV serials, which emphasize the importance of family, friendship, solidarity and peacefulness, mostly poor and low class heroes are striking our eyes. In these texts where the traditional roles of women and men are mixed in pious life forms, lifestyles of the growing religious societies of society are also gaining visibility. Beyaz Gelincik (The White Weasel) (2005) Arka Sokaklar (The Backstreets) (2006), Hırsız-Polis (Thief-Police) (2007), Aşk-ı Memnu (Forbidden Love) (2008), Ezel (The Pre-eternity) (2009), Öyle Bir Geçer Zamanki (As Time Goes By) (2010), Fatmagül’ün Suçu Ne?(What is Fatmagül's Fault?) (2010), Muhteşem Yüzyıl (The Magnificent Century) (2011), Adini Feriha Koydum (I named her Feriha) (2011), Seksenler (The 1980s) (2012), Kara Gül (Black Rose) (2013), Diriliş: Ertuğrul (The Revival: Ertuğrul) (2014), Aşk Yeniden (Love Again) (2015) and Kalbimdeki Deniz (Second Chance) (2016) are some of the most popular productions of recent times. From 2000s, with developments experienced in electronic publishing and the competitive broadcasting policies emerging with a changing market understanding, numerous kinds of media contents have begun to be produced. Even though these contents are different, television broadcasting in Turkey has mainly shifted to serial production. In recent years, especially in TV channels, the numerical ultiplicity of th s rials has cr at a ‘s rial xplosion’, as İnal (as cited in Özsoy, 2015) phasiz s that, “to ay Turkish au i nc is swi ing, p rhaps rowning in a narrative ocean while struggling to find their place in these explosions of serials” (p.43).

3.2. Audiences of TV Serials in Turkey

No doubt that, the great easiness provided by communication technologies in the information age is the instant access to information. This situation has increased efforts of people to access information but in addition to this, people become more dependent on mass media. So, watching TV has become one of the most important daily activities in Turkey and a notable leisure time spent with the whole family (Çelenk, 2010). Having look at the average daily TV viewing hours in the world, although average daily TV watching hour in Turkey between 2008-2012 has decreased by 10% from 4.4 hours to 3.9 hours, Turkey still ranks above the OECD average with 3,5 hours TV watching. Increased internet access which is among the major reasons for this decrease and parallelly increased online video watching are thought to be affective (Deloitte, 2014).

Figure 3. Average Daily TV Viewing in 2011 (OECD, 2012)

As indicated in the table below, serials constitute the majority of the prime time generations of TV channels. Although re-runs and summaries may be perceived as repetition of previous episodes, they may still attract higher ratings, especially reputable TV series, and at the same time enable broadcasters improve bottom-line (Deloitte, 2014).

Figure 4. Top 5 Program Breakdowns – 2013/2014 Season (Deloitte Analysis, 2014)

(Top 5 programs in leading six broadcasters, on a unit basis)

According to the results of 'Television Monitoring Trends Survey' conducted by Radio and T l vision Supr Council (RTÜK) in 2012, o stic s rials ar a ong th ost watch productions with programs of news, domestic film and game show. According to this research, the domestic serials are the first choice of watching preferences. 2525 people who participated in the survey stated that 76.5% of them are watching domestic series, 74.5% of them watching news, 49.7% of them watching domestic films and 42.4% of them watching game shows.

Figure 5. TV viewing frequency according to the program genres between September and December in 2012 (RTUK, 2013)

When we look at the themes of the Turkish series in the last period, different genres such as family, comedy, romance, youth and action are confronted. In this way, production companies aim to r ach th p opl fro all ag s an all l v ls of int r st, to xpan s rial’s au i nc an to increase the ratings. The graph below illustrates the most popular genres among series in 2013-14 broadcasting season. The most aired gender is romantic-themed serials. However, most series present elements from multiple genres (Deloitte, 2014).

Figure 6. Genres of the serials which On-Air since Jun, 2014 (Deloitte Analysis, 2014)

Due to reasons such as ratings and competition, preference of famous actors, screenwriters, pro uc rs incr as s th cost of s rials, wh r as RTÜK r gulations r strict th nu b r an uration of ad generations to be included in a serial air time. In this case, broadcasting organisations use extension of serial periods as an alternative method to reduce the costs. When we look at the examples in the world, average duration of a serial is between 39 and 42 minutes (excluding advertisements) per section, while it is 90-120 minutes in Turkey. 35

Figure 7. Average Breakdown of the TV Series First On-Air Times per Episodes in 6 Leading Broadcasters- 2013-2014-Season (Deloitte Analysis, 2014)

(Time analysis are performed taking 95 TV series, whose new episodes have been broadcasted within 2013/2014 season included Ad periods)

In other hand, TV channels aim to reduce the costs by re-broadcasting the serial reviews and summaries in weekly program streams, with the revenues from their ratings. In this case airtime of a serial reaches 150-180 minutes with their reviews and summaries as seen on the Table 6.

Figure 8. Average Breakdown of the TV Series in total On-Air Times per Episodes in 6 Leading Broadcasters- 2013-2014-Season (Deloitte Analysis, 2014)

3.3. Women Representations in Turkish TV Serials

In Turkey, TV serials and characters have turned into a cultural phenomenon and the effects of these TV shows are in incredible level, as a part of the culture. Since the current dominant patriarchal ideologies in Turkey towards gender are the determinant factor of the format in 36 television serials, women representation in media in the context of relation between media and women has become a problematic area which is frequently coming up and discussed. Such that, as Inc oğlu (2002) says that “none of the political ideologies bring any alternatives to the hierarchy structure that is the opposite of womanhood and manhood, even more it plays a role in solidifying the continual social hierarchy of the gender system” (p.11-12). Since the identity of women and produced women image find meaning in specific area of culture, firstly the perspective of media on women needs to be examined in order to understand how women are defined in popular media discourses in Turkey and represented in the media (Saktanber, 1990) Baudrillard (1997) emphasized the differences between male and female identities produced by mass media arise from differentiation logic of the system rather than the differences arising from nature of the women and men. In fact, whether any television program includes or excludes women and the way women are represented in this program is determined within the framework of various elements such as air time of the program in broadcast stream, type and rating of the program. From this point of view, media in Turkey is one of the main areas where gender perspectives become visible. For instance, there are many contents and roles related to women, included in advertisements, programs or serials, as well as many women-specific television contents for women in Turkey. Pri ary of th ar th progra s broa cast in ayti un r th na of wo n’s program. The contents of these programs addressed to women are usually search for solutions to family problems, childcare, health, home economics, personal care, practical information on kitchen and everyday life and handcraft recipes. In a sense, women are given a kind of guidance about how they can be better and more successful in childcare, being ideal spouse and housewife through these programs. In these women-specific broadcasts showing up with development of mass media, as Mengu (2004) points out, “an approach appropriate to the role of housewife and mother in a way that fosters feminine roles found acceptable in society is shown” (p.117). In this way, secondary position of women in society is reinforced by giving sub messages in which the traditional structure is reproduced. On the other hand, we see that these programs seem to be supporting gendered assumptions r gar ing wo n’s aily lif wh n w look at for ats an air ti s of th s progra s in broadcast stream. So much so that, men-specific programs are broadcasted in the part of evening stream in accordance with a timing that accepts the position of men in public life. On the other hand, women programs are placed in the broadcast circle based on factors such as housework, children's school and sleeping hours in accordance with daily life of the female audience. This situation is an indication that media is ignoring presence of women in public life and evaluating women as ‘mother, housewife and wife’ in traditional mindscapes with an approach that excludes their presence in public life.

The fact that women are represented less frequently than men in the media has been a matter of criticism in Turkey for many years. Along with this criticism, various media contents have been started to be produced that include women more frequently, but in the mean time, representation of women on the screen has started to be discussed. The social, cultural and political positioning of women in media has also been reflected in their participation in various television programs, news and discussion programs and lots of research have been conducted on women's representations in media. In a research regarding 84 episodes of the news program named Tarafsiz Bölge, (Neutral Zone), it has been observed that in 2015, four hundred and fifteen male guests participated in the program throughout the year, while the number of female guests was only forty (Alp, 2017). On the other hand, the participation number of female speakers who have an academic title in this program is only three, while the number of male academicians is eighty eight. In the same way, while twelve female journalists were invited as speaker, the number of male journalist speakers was one hundred and twelve. This research is an important source of where and how many women are represented or not according to their professions, in other words, whether their presence is seen in the media or not. The analysis of how women exist in media content allows them to be examined in the context of gender relations. Tanrıöver (2017) states that identities such as mother, spouse and sexual object that are imposed on women in social life are repeated in media in other countries or in Turkey, and women are represented with implicit discourses in a false equality. Roles of mother, spouse and sexual object imposed on women through television mediate an alienation of woman identity through rhetoric and visual presentations on media and produce ‘discrimination’. Discrimination, especially on television, is often done through lack of representation, underrepresentation or stereotyping. As Timisi (2010) mentions that symbolic content of the media is not natural considering the gender perspective. In other words, the media is constructing a new reality instead of reflecting the existing reality. Both the symbolic content is not objective, and the subject matter of the content cannot be defined by an empiricist perspective. Therefore, “The symbolic content in the media is not the reality's itself, but a preferred picture of it.” (p.91-92). According to Timisi, the media has the power to produce a system of meaning that will enable or prevent the reproduction of gender inequalities in generations. Means of communication identify ethical boundaries within the meaning world presented for egos, identities, sense of belonging and determine right-wrong and normal- abnormal things constituting the mind of reality (Timisi, 2010). Therefore, representation of women on television programs upon only certain roles constantly repeats and reminds the expected and undesired various behaviour patterns. As a result, it would be sufficient to look at the media representation of women and men in order to see how sexual discrimination is produced in the media. 38

4. CONTENT ANALYSIS OF THE WOMAN REPRESENTATION IN

TURKISH TV SERIALS

This chapter divided into three parts. First part contains research methodology. In the second part, it can be found that analysis of the women representation in Turkish TV Serials and its findings via discussion. In the third part, conclusion is addressed.

4.1. Research Design and Methods

The main objective of this study is to analyze the representation of women in TV serials. In this direction, it is investigates that which kind of women portrayals seen in the serial concerning the gender representation and how these portrayals are presented in the serial's narratives. The Content analysis has been applied in this thesis as a method to find out how women represented through the women characters in TV serials which are Kalbimdeki Deniz (Second Chance), Aşk ve Mavi (Love and Blue) and Anne (The Mother). Content Analysis: Following the development of mass media, the content analysis emerged beginning of the 20th century and in 1952, Bernard Berelson (as quoted in Hansen et al., 1998) defined the content analysis as “a r s arch t chniqu for th ob ctiv , syst atic, an quantitativ scription of th anif st cont nt of co unication” (p.18). According to Neuendorf (2002) “it is the systematic, objective, quantitative analysis of message characteristics“(p.1). As Jackson (1995), emphasizes, the content analyses is particularly functional at evaluating the content of the message that a particular medium. In the field of media studies, content analysis is an indispensable discipline. Saucier (as cited in Van Zoon n, 2009) in icat s that “cont nt analysis is oft n employed to assess the manifest characteristics of large quantities of media output (p.68).With a qualitative or quantitative methodology, content analysis focuses on meanings of the data in media, especially on TV and it allows examining a wide range of data such as presence of the men and wo n on TV progra s. As Ru y t al. (2010) clai that “as w ll as wo n an n's portrayals, moral structures, relationships, ages, races, languages, ethnicities, goals and aspirations and many other characteristics can be examined through the content analysis” (p.705-720) Method of gathering the data: A content analysis of TV programs is usually done by recording the programs and analyzing them for specific criterias. As these serials were ongoing shows and new episodes aired every week, collection of data is gathered through the watching s rials’ piso s uring four w ks an taking not s of what is s n, portray an spok n in script. Samples are consisted from these episodes. Also these serials were available online on Turkish

39 video site which is http://www.canlihddizi.com/. All the episodes were uploaded and available to watch from their archives free in charge. The fifteenth episode for Kalbimdeki Deniz aired on 4th of February 2017, the sixteenth episode aired on 11th of February seventeenth episode aired on 18th of February and the eighteenth episode was on 25th of February in 2017. The fourteenth episode for Anne aired on 7th of February 2017, the fifteenth episode aired on 14th of February 2017, the sixteenth episode aired on 21st of February and the seventeenth episode was on 28th of February in 2017.The thirteenth episode for Aşk ve Mavi aired on 3th of February 2017, the fourteenth episode aired on 10th of February 2017, the fifteenth episode aired on 17st of February and the seventeenth episode was on 24th of February in 2017. Coding: Female characters in these TV serials were examined individually. Each character was analyzed by coding, such as marital status, age, profession, moral structure, gender role etc. They were examined individually by coding, such as marital status, age. Each character was coded as either major or minor. Characters were coded as major if they played "leading roles representing the principal types essential to the story" (Cultural Indicators' Project, 1981, p.2). All other character roles were coded as minor if they play second role. The coding scheme for the character analysis is adopted from the Cultural Indicators Project (1981) of George Gerbner. Selected criteria from the Cultural Indicators Project were used as coders for the character analysis. The full coding scheme is attached as Appendix A. Also frequencies and were computed using the Statistical Package for the Social Sciences (SPSS). Relevant findings are reported in result chapter. Sampling and Time Frame: TV serials are settled as the universe of the research and unit of research for this thesis is TV Serials which are Kalbimdeki Deniz, Ask ve Mavi and Anne. The unit of analysis for the study does not cover the complete episodes of the serials. The data was gathered from the four episodes which are broadcasted in prime time during the four weeks of February in 2017. Prime time refers to the broadcasting time slots of 7:00 p.m. to 10:00 p.m., Mondays through Fridays. The total number of the episodes aired during February is 12 and analysis has made from 1800 broadcast hours in total. Limitations of the Research: The scope of this study covers only woman representation on selected three TV serials. The age limitation for the research specified as women who are in age between 17 and 55. Teenagers under 17 and women over 55 years of age are out of analysis. Religion and nationality were not mentioned as analysis criteria by the reason of all characters in th s rials ar Turkish an Musli . Also wo n’s thnic backgroun coul not b xa in because of the lack of information. In addition, because of its forbidden that the images of all manners of the alcoholic beverages and tobacco products on TV, variables such as smoking, drinking and drug usage does not include into research. 40

4.2. Analysis of the Women Representaion in Turkish TV Serials

In this part, the analysis and findings of the serials were presented. At first, general information about each serials such as title, genre, network, producer, release date, director etc were given in a table. Then, a short summary about the plot of serials were given to gain a better understanding about the storyline. Finally, brief information about the serials' female characters was presented in consideration of to give some ideas related with the relations amongst the characters within the series.

4.2.1. Kalbimdeki Deniz

Kalbimdeki Deniz (Also known as Second Chance) is a Turkish romantic TV serial that broadcasted on Fox Channel in the prime time since 2016.

Table 1. General informations about Kalbimdeki Deniz Original title Kalbimdeki Deniz - Second Chance Tagline Love when you least expect it Genre Family, dram, love Fist release Date 22 October 2016 Broadcast Day Saturday Runtime 150 min. Season 1 Network Fox TV Production Co. Pastel Film

Producer Ef İrvül Director Aysun Akyüz M h iabbas

The Storyline Deniz's perfect life in her mansion with her loving husband, two children and old father is destroyed by the sudden disappearance of his husband. Her husband involves in a fraudulent bankruptcy and he asks from Deniz for divorce on paper to avoid losing their all properties. Deniz accepts this offer desperately. While worrying about her husband's life, she had lost all she had in three days. The thing that Deniz doesn't know yet is that her husband has abandoned them to set up a new life with young and beautiful Sebnem who assistant of her best friend Hulya. Deniz faced to 41 oth r si s of lif in hous wh r sh r nt with h r last on y, without knowing thatHülya is th architect of her husband and Sebnem's forbidden love. She meets Mirat who will be a lover and a life-saver for her all family. Mirat gives a hand to Deniz and they start to live at Mirat's mansion all together and intimate relationship starts between them.

Information about Female Characters

Figure 9. Deniz Öztuna (https://filminebandim.com)

Deniz is the main character of serial and she has everything a woman can ask for but, when her husband disappeared no trace, this happy life changes. Her husband involves in a fraudulent bankruptcy and he asks from Deniz for divorce on paper to avoid losing their all properties. Deniz accepts this offer desperately. She is helpless with her two children and her father unaware that her husban ’s starts to his n w lif with his lov r. Sh eets Mirat who will be a lover and a life-saver for her all family and they start to live at Mirat's mansion all together.

Figure 10. Hülya Aksal (http://www.fox.com.tr)

Hülya is Deniz's so-called closest friend since their childhood. They had grown up together in the same neighborhood but Deniz got married to a rich and well-known businessman and thanks to her marriage she had moved up the social ladder. Hulya, got married to a lawyer from middle- class. She is very ambitious woman and always tries to take revenge on Deniz due to all things that sh r a but coul n’t hav . So uch so that, v n sh caus to br ak up D niz's arriag by inciting her assistant Sebnem to have sexual relations with Deniz's husband.

Figure 11. FikriyeYılmaz (http://www.haberler.com)

Fikriye is the next-door neighbor in neighborhood where Deniz has just moved in. She has bad character. She has no problem in gossiping, vilifying and dishonesty. She also has been carrying grudge against the rich people since she started to work as housekeeper. Fikriye has been felt in love with Mirat platonically for her childhood. Because of this reason she becomes the biggest enemy of Deniz because of the intimacy between Deniz and Mirat.

Figure 12. Diyar Sarıkaya (http://www.star.com.tr)

Diyar who is daughter of a rich and powerful landlord has a character that always questions her life which is under the shadow of custom and traditions. She dreams to start a new life away from her family by getting married with her lover. According to her custom the punishment of having a child out of marriage is death and when her pregnancy outcrops she has no other choice than run away. Diyar meets Mirat by chance in somehow. So she starts to live in Mirat's mansion with Deniz.

4.2.2. Aşk ve Mavi Aşk ve Mavi (Love and Blue) is a Turkish TV serial that broadcasted on ATV Channel in the prime time since 2016.

Table 2. General information about the serial Aşk ve Mavi Original title Aşk ve Mavi - Love and Blue Tagline Take me wherever you go Genre Family, dram, love Fist release Date 4 November 2016 Broadcast Day Friday Runtime 150 min. Season 1 Network ATV Production Co. NTC Media Producer M h t Yiğit Alp Director Hakan Arslan

The Storyline A young woman named Mavi makes a friendship with a prisoner who named Ali by contacting him through letters. Although th y on’t s ach oth r, th y g t arri at th ay aft r when Ali's gets out of prison. But Mavi tries to kill Ali on their wedding day. Because she thinks that Ali was her brother's killer. In fact, Ali is not his killer, but he stayed in prison for twelve years to protect the real killer, his brother Cemal for the purpose of to guarantee future of his brother's wife and daughter. Ali sees Mavi's identity on marriage document and understands everything; but he chooses to stay silent for love. In the night of the wedding Mavi tries to kill Ali but he escapes with slight in uri s an h o sn’t fil charg s against Mavi if sh acc pts that to liv tog th r because he fell in love with her. That way although sh o sn’t lik hi , an i possibl lov ris s between them.

Information about Female Characters

Figure 13. Mavi Göreçki (http://www.mynet.com)

Mavi is a beautiful and young woman but gone down with h r b lov broth r’s ath, sh go s p r own with h r fath r taking bloo Mon y fro h r broth r’s ur r r an turns away from her family. The only aim for Mavi in life is now to kill the murderer of her brother; Ali. So, she exchanges letters with Ali for three years during his jail times they get married at the day after when Ali's gets out of prison and Mavi tries to kill him on the wedding day.

Figure 14. Refika Göreçki (www.magazinkolik.com)

R fika is Ali’s oth r an Mavi’s oth r in lov . She is a strong and authoritarian woman who has lots of lif xp ri nc s an sh is th l a r of Gör çki fa ily. Th only thing that att r

45 for h r is h r chil r n. So, sh b co s Mavi’s gr at st n y, th on who tri s to kill h r son; Ali.

Figure 15. Safiye Göreçki (https://www.izlesene.com)

Safiy is th wif of Ali’s big broth r C al. A shr w , politic an officious wo an Safiy , a ust th balanc s in th Gör çki Mansion by forgoing things wh n n . Safiy raws a wo an portrait that has customs and traditions but in the meantime she is trying to be modern.

Figure 16. Hasibe Yilmaz (https://www.izlesene.com)

Hasibe is mother of Mavi. Uncouth and officious woman Hasibe is also so money-minded that she forces her husband to accept blood on y for th ir son’s ur r r. Sh tri s all h r ways to

ov in into th Gör çki Mansion aft r h r aught r Mavi’s arriag . Hasib is th worst wo an portrait between all female characters in terms of personal traits.

4.2.3. Analysis of Anne

Anne (The Mother) is a Turkish TV serial which is about the story of a little girl abused by her mother and a teacher who tries to adopt her after kidnapped.

Table 3. General information about the serial Anne Original title Anne / The Mother Tagline There are three people in the world: Women, men and mothers ... Genre Family, dram, love Fist release Date 25 October 2016 Broadcast Day Tuesday Runtime 150 min. Season 1 Network Star TV Production Co. In partnership with Med Production and MF Production Producer Faruk Bayhan, Fatih Aksoy Director Merve Girgin Aytekin

The Storyline Melek is a child who finds happiness in every occasion and lives in dreams in a small world. Zeynep temporarily goes to work at Melek's school and their path crosses. Zeynep is a young woman who adopted by a rich family in her childhood but she refuses the all opportunities from her family and tries to stand on her own feet. Zeynep is interested in photography, but she joins a primary school for one day as a substitute teacher. She notices the weird actions of her little student Melek. So, when she goes deeper into it she finds out that Melek's parents are bad to her. Melek’s mother sees her as a burden and she chooses to stay silent to her boyfriend's tortures and injustices to Melek. So than, Zeynep kidnaps Melek and starts to live together with Melek by calling her new name; Turna, until Melek's mother finds them and takes her away from Zeynep.

General Information about Female Characters

Figure 17. Zeynep Güneş (https://www.gecce.com)

Z yn p is a wo an who‘s thoughtl ss against lif , trusting no on , an col b ing l ft alon by her mother at the age of five. While hating her real mother, she is also distant from her foster family. Childhood traumas made her build up walls between her and her step sisters and mother. She feels alone and outcast. Her look on life and people changes by meeting Melek and she begins to experience feeling like love, mercy and sharing.

Figure 18. Şule Akçay (http://www.haylayf.com)

Şul is a ruthl ss oth r who b ing a prostitut in night clubs as a living. Sh liv s in a shanty house with her daughter Melek and her lover Cengiz. She has psychological problems due to bad experiences in her past and life conditions at the present. At the same time she is woman who

48 devoid of sense of motherhood as well as would prefer to her boyfriend Cengiz instead of her little aught r. Du to h r a iction to h r lov r, sh o sn’t v n s h r aught r's b ing physically an psychologically abused by him. She makes a plan to kill her daughter and at a night she leaves her in a garbage bag on the street.

Figure: 19. Cahide Güneş (http://www.dizi-haberleri.com)

Cahi is Z yn p’s st p oth r. Cahide, who is a rich and achieving lawyer, adopts Zeynep aft r h r oth r’s b n s nt to prison an rais s h r lik h r own chil r n. Aft r Gönül g ts out of prison, she works very hard to not lose Zeynep.

Figure 20. Gönül Aslan (http://www.ntv.com.tr)

She is Z yn p’s r al oth r. Gönül go s in ail in h r youth an is forc to giv away Zeynep to another family. She lives with the pain in her conscious, because she left her daughter. Gönül tri s to t ll Z yn p v rything onc sh ’s out of prison.

4.3. Research Findings and Discussion

Number of the characters It shows the number of female and male characters in plot. As can be seen in Table 4, the distribution of characters by gender on TV serials as follow: In total 53 character from three different TV serials was analyzed, and it is found that females characters comprised 50,5% of all characters, slightly higher than the number of male character which was that 49,5%. According to this result women are not underrepresented in TV serials and they are almost equally represented with men in comparison with the previous studies related to gender representation.

Table 4. Distribution of the actors and actress within the plot

Gender Major Role Minor Role Total % Female 11 16 27 50.5% Male 9 17 26 49.5%

Role Type Refers to the part played by a character within the scenario of the TV serials. Positions of the characters in TV serials are an important indicator to extent which character's role constitutes a major or a minor aspect of the serials' storyline. A leading role means that the character offered the main attraction or was given the stronger focus in a specific episode or during the whole season. Here, the character was assigned substantial dialogues and was a significant part of the plot. The characters who have minor role are the ones that have few speaking lines and they were positioned around to the storyline rather than in centre of it. For this study all men and women characters (except guest characters) from three different TV serials were classified as major role and as minor role according to their position in the storyline.

Figure 21. Distrbutiton of major role according to gender

In this thesis, 27 female and 26 male characters were analyzed and the percentage of female characters who have major role was 55% of and 45% men were classified as having major role too. Surprisingly women were portrayed in these TV serials as having major roles greater than male characters. Also, female characters accounted for 49% and males 51% of minor characters.

Figure 22. Distrbutiton of minor role according to gender

Here, besides the woman existence in TV serials, the main issue that should be considered is how women are represented in TV serials. Considering the positioned of female characters in accordance with chain of events in the plot, it has seen that most of the TV serials' plots take shape aroun a f al charact r. Thr TV s rials pr s nt “survival stori s” of wo n who struggl with many problems under the roles, obligations and sanctions that society imposes on them. In fact, most of the main women characters were victims of a tragedy. One of them is a tragedy of a helpless woman Deniz who has been deceived by her husband and tried to survive with her children without money. Her life changes by meet a man who will be a life-saver for her all family. Also, Diyar who is daughter of a rich and powerful landlord has no other choice than run away from her family when her pregnancy outcrops. She escapes to Istanbul with a dream to start a new life in there, but she can't cope with the hardships of life alone. A man that her met incidentally, protect her from her family. Another character is Mavi who subjected to a homicide tragedy. Her brother was killed and her father and mother accept to blood money from murderer. Mavi is a portrayed of the proud girl whose family honor tarnished by her family elders. After marriage with the man that is so-called killer of her brother, everything changes in her life. The lives of these three woman change after meeting a man who will be a lifesaver for themselves. Within this context, those TV serials give the message that women have not ability to fight against th chall ng s an facts of lif without a “ n” by cultivating th i a that th y ar always in n of the support of men.

Demographics According to the analysis result the great majority of female characters were shown to be in their twenties and thirties with 33%. The 27% of the female characters who had major role were in their late 20s and 30s, whereas 37% percentages of the minor female characters were in their 20s.

Figure 23. Distrbutiton of age

Also almost half of the females were shown as of college or university age (40%). 30% of female protrayed in their 40s and 50s and only 3.7% of female was in their 17s.

Marital Status It is observed that most of the female roles in these TV serials (52%) were single and 26%) of women with were portrayed as married. The ratio of women with major roles was portrayed as married with 50%. The percentage of females shown as living with a partner without marriage was only 7.4%. There were also 4% divorced women portrayal in TV serials and the only 18% of women were widow.

Figure 24. Martial status of female characters

Educational Background In this analysis, the point to take into consideration related to educational background of female characters is that the educational backgrounds of more than half of women were not clearly specified. Figure 25. Educational background of female characters

About one fourth (25.9%) of female characters were university graduates and they were successful in achieving their goals, within the context of TV serials' plots. The only 3.7% of women have high school degree and small proportion (3.7%) of females was high school students. The only of women have high school degree.

Occupation The occupation of characters was significantly in the same direction with educational background of the character. Employment for female characters in serials was as follows: only 14.8% have professional job, and 12.5% of females with a clear occupation was employed in white- collar positions. Figure 26. Distrbutiton of female characters’ occupation

22.2% of women have unprofessional occupation and 11% of them portrated as homeworker. In addition, 33.3% of women clearly defined employment inside the home and as well as they were represented as housewife. They are typically represented as interested in and competent at house cleaning cooking, and child care. Also, 29,6% of female characters represented in employment outside the home (except students). If th wo n’s occupations tak into th consi ration, it can b sai that whil wo n ar still for the most part represented with traditional occupations which are not required professional competency such as housewife, housekeeper, shop owner, charlady, etc. in other respect, professions of the women characters are represented in a modern way as different from traditional ones. The meaning of the representation of women in a modern way is that they are portrayed as economically independent under favour of their professions or they portrayed as the ones who try to get their economic independence. But the main problem here is, even the women that have a job, are still portrayed as dependent on men in a kind of way. For instance, a female character from Kalbimdeki Deniz, in work places that she worked as a part time worker has been harassed and treated badly by the male employers. But at every turn a male character lends a hand to her and she get rescued from the situation that she was in. Also when a female character from Ask ve Mavi has been an instrument in drug trafficking by the people she was trading with, ironically her husband comes to her rescue. In this frame, even of the women who have achieved freedom in some way thanks to their professions, it is not exactly free and that they have been stereotyped by portraying as being dependent on men to survive the hardships. As a result, in those TV serials, although women were depicted as modern and powerfull women who earn their own money, due to given message that men are stronger than women in all cases, these representations reinforce the dependency of women to men as their subordinates by bringing the female weakness to the fore.

Attitude Atitude is the variable that refers to the extent to which the major or minor character is seen as positive or negative attitudes. Positive characters generally exhibit good behavior and thoughts such as honesty, helpfulness, faithfulness etc. Negative characters are shown as exhibiting and espousing negative ideas such as dishonesty, falsity, selfishness, etc. These TV serials have created three types images of women: good women and bad women and both. According to the analysis result, almost half of the female characters portrayed with the image of good women who have positive attitudes (48.1%).

Figure 27. Personal traits of women characters

Nearly two quarter (24.5%) of female characters have bad attitudes such as dishonesty, falsity, disloyalty, etc. So much so that, 22.2% of females were jealous as well as selfish, 11.1% of them were gossiper and almost one third of women were liar (18.5%). In these TV serials, female characters are staged with their positive personal features however they were also intensely portrayed with their bad characteristics. Women are stereotyped under the ‘bad woman image’ by portraying them as liar, gossiper, fortune hunter, intriguer figures and showing as if these are their natural specifications.

Appearance It points that the components of female charact rs‘g n ral appearance such as hair color body shape, also the clothes they worn. In this study, the appearance of female characters in term of clothes worn was measured with five-point Likert scale. Scale is ranging from 1 to 5, where 1 means the character was wearing a "neutral" clothing attire; such as daily clothes with light makeup which does not contain any kind of sexuality and, 3 means the character is wearing clothing that is "attractive" (i.e., more liberal clothing that tends to highlight the body, such as excessively tight pants, with makeup, 5 means "sexy" in which the character wears transparent clothes, low-cut dress or miniskirts with heavy makeup. It was obs rv that th r w r n't significant iff r nc s b tw n wo n‘s general appearance. 51.9% of female characters represented as well groomed and also 75% of those women have athletic body shape. Poorly groomed female characters accounted as 49%. In fact, 61.5% of those women were portrayed having non-athletic body shape, whereas only 23% of them had athletic body shape.

Table 5. General appearance of the female characters

General Appearances of Number of Characters % the Female Characters Well groomed 14 51.9 Poorly groomed 13 48.1 Total 27 100%

However way of representation of the women's physical appearances are linked with their occupations. Such that, more than half of the female characters who were portrayed as housewives were poorly-groomed at the same time (67.6%). Also 77.7% of them had non-athletic body shape and 77.7% of women represented without makeup. Within this context, these serials are stereotyping women through their physical features. In that, especially women who portrayed as poorly-groomed housewife were stereotyped with their non-athletic and without makeup outlooks. On the other hand, overall of the women were shown with neutral outfits as it seen at the table 19. 18.5% of the female characters represented with attractive clothes, whereas neutral outfits was 70.4%. And the women who come to the forefront with sexy clothes were only 11.1%. In addition, in these three TV serial 62.9% of female characters put on makeup regularly, (including housewives with small proportion, 33%). The majority of women (78%) had either brown or black hair and 11.1% had blond and grey hair.

Table 6. Dressing style of female characters

Dressing style Number of characters %

Neutral 19 70.4 Attractive 5 18.5 Sexy 3 11.1 Total 27 100%

The women in TV series are mostly seen in daily clothes, but the overarching of dressing styles of the women who prefer to wear sexy and attractive clothes directly their social status is determinant in the context of cultural coding. In fact, wo n who on’t hav r arkabl physical differences in appearance were differentiated from each other by their clothing styles. For instance, while women depicted as housewife are portrayed in normal outfits with light makeup, their clothes

on't contain écoll té or transpar ncy. Ev n so of th hav scarf that cov rs parts of th ir hairs. These women are again represented with accessories such as gold earrings, bracelets, necklaces which are considered as a mark of tradition in Turkish society. Women from business life could have been wearing attractive and sexy clothes even in daily life; furthermore they can show up on screen with underwear. Also the jewels of these women were diamonds that considered as modern jewels and they often portrayed in heeled shoes. In spite of that, the fact that the majority of women who were portrayed in traditional roles are represented by only clothes that suited to womanhood as though such as skirts or dresses, emphasizes the difference between working women and women who are housewives.

Violence It is observed that substantially high levels of violence portrayed in the serials. The percentage of females who were involvement to violence act as subject or object of it was, 81%.

Table 7. Representation of the violence through the women characters

Physical Psychological Total % Violence Violence Committed to 5 5 10 37% Violent Acts Subjected to 7 5 12 44.% Violence Neutral - - 7 19%

Approximately half of the females (44%) were victims of physical or psychological violence. Although women were even more the victim of violence that also the percentage of the female who commit to the any kind of violent act was quite high. 37% of females commit to physical or psychological violent acts. The point that unexpected in this analysis is the high rate the existence of women who commit violence to their fellows. According to the result of this analysis, 18% of female were the actor of violence against women and more surprisingly, there were women who involved violent act against men with 3.7%. However, 19% of all females were not subject to any form of violence and they weren't committing to any kind of violent acts.

CONCLUSION Humankind is always in need of knowing that what is happening around them because of the nature. In the result of this need, the humankind's accumulation of knowledge as to nature and other people has composed the culture. Communication at this point has been a gate to the rest of the world for the societies.

İnsanoğlu oğası g r ği trafların a olup bittiğini bil y h r za an ihtiyaç uy ustur. Bu ihtiyacın sonucun a, insanlığın oğaya v iğ r insanlara ilişkin bilgi biriki i kültürü oluştur uştur. Bu nokta a il tişi , toplu lar için ünyanın g ri kalanına bir kapı ol uştur.

M yayla iştigal n günü üzün’ o rn toplu larını üşünürs k, yanın kültürl r üz rin ki tkisi r il z. Media shape the cultures by in forming the people’ thoughts, behaviours, perceptions about life If w consi r th to ay’s o rn societies that interlocked with media, of course the effect of media on cultures cannot be denied. Gunumuz modern toplumlarinda toplu ların a, oluşturulan cinsiy t i g l ri, ya tarafın an b lirli i olo ik t sill rl yayılır., Thus, the constructed images of gender are propagated by the media certain ideological representations, Toplumsal cinsiyet rollerinin sınırları belirli medya imgeleriyle yaratılmış algılamalarla belirlenir ve kategorize edilir. The boundaries of gender roles are determined and categorized by perceptions that are created by particular media images. When we consider the construction of identities and defining of gender roles, the culture is the main reference element of media in representation process. Ki likl rin inşasını v toplu sal cinsiy t roll rinin b lirl n sini göz önün bulun ur uğu uz a kültür, t sil sür cin yanın ana r f rans öğ si ir. To ay’s o rn ass soci ti s, Media promises to individuals some kind of an undiscovered world which they would re-experience by different contents in every turn. Medya, bireylere, her seferinde farklı içeriklerle yeniden yaşayacakları keşfedilmemiş bir dünya vaat ediyor. Media serves the individuals an undiscovered world which

Media has an important role both in reflecting and influencing the cultures of societies. While being a cultural representation tool, Television is a significant medium within the context of

58 gender representations due to its representations that contain certain codes towards the gender roles. Such that, television is a place both where social reality is created and reestablished of the existed reality through the various representations, plays a key role in reshaping the female and male identities through texts built in parallel to social structure. medya hem toplu ların kültürl rini yansıtan h tkil y n ön li bir rol sahiptir. T l vizyon, kültür l bir t sil aracı ol akla birlikt , toplu sal cinsiy t roll rin yön lik b lirli ko ları iç r n t sill ri n niyl cinsiy t t sill ri bağla ın a ön li bir araçtır. T l vizyon, h toplu sal g rç kliğin yaratıl ığı, h varolan g rç kliğin ç şitli t sill r yoluyla y ni n kurul uğu bir y r olup, toplu sal yapıyla paral l olarak inşa il iş tinl r aracılığıyla ka ın v rk k ki likl rini y ni n ş kill n ir kilit rol oyna akta ır.

This research on forms of the women representations in Turkish TV serials show that in every three television serials women are being represented in the traditional context with dominant patriarchal values that already exist in Turkish society. In these TV serials the reconstruction of the position of Turkish woman among society is shown as it already ever was; unequal position to the Turkish men, within the traditional gender context. It is a fact that while the task of the men is to earn money in accordance with Traditional Turkish family structure, the mission of women is bounded with to manage the housework/house holding and to be a good wife/mother. So, even if the 27.5% of Turkish population were consisted by working women4, whether they have a profession or haven't, women's fundamental duty has been limited taking care of home and the chores. As a result of this research, in TV serials, it is seen that women are generally portrayed around home and they are mainly depicted as housewives in a profession sense. Most of the women have been described as housewives who could not improve themselves culturally and bereft of higher education, and their life spaces have been determined in a way that as it will be limited to relationships with home and other women in neighborhood where they live. However, the woman type-with the common usage in Turkish society, "educated housewives"- who had university education or choose to be housewives by leaving school were also present in these TV serials. But education is not enough for these women to leave the circle of patriarchal order, and even when they are portrayed as a modern woman or a woman who tries to be modern they are still represented in certain patriarchal role scripts. So much so that, in these TV series, the sense of being modern for these types of women is defined as dressing well with the money earned by their husbands, being

4 TUIK, 2016 http://www.tuik.gov.tr/PreHaberBultenleri.do?id=24643 59 well-groomed and satisfies them by this way. But here the main the problem that these women draw a portrait of “wo an ntality" that guarant th futur by pr f r a succ ssful arriag inst a of a respectable profession. Such a woman portrait sets a bad example to young girls by offering the perception that having high living standards without any financial difficulties is only possible to being bride of a rich and populous family. On the other hand, this status makes women dependent on their husbands -to the men- in moral/material terms, while at the same time characterizing the woman as "an absolute consumer object Even so much that, the portrait of "the place for the woman is the house" reflects to business life as "products towards consumer women image" by becoming or than a social algı, an th n kitch n aprons writt n " ali brings ayş cooks" on th b gins to be sold under the name of "speaking aprons"5. And with that, women's subordimate state against men is being reconstructed by also social life practises. According to the findings of this study, it is possible to say that the TV can create certain perceptions about the social norms that can be shared in common by people. The form of the woman representation in the media also contributes to shaping the social perceiving related to women. By this way, the 'passive and obedient housewife' mission that considered by Turkish society to the woman is supported by media with the image of mother hen woman who takes up all the challenges (Karaca & Papatya, 2011). In one respect, media is addressing of the perception that the socialization of women and thus take their places in social life can only be possible with presented stereotypes images of women, such as housewife, mother and wife (Irwan & Binark, 1995). From 90's, countless TV serials have emerged through special TV channels and Turkish people treated domestic TV serials with great respect in this process. As Kapsal (2012) claims that the domestic TV serials are pioneering to shape society with its messages, roles, stereotypes, whilst being a tool for passing the present culture in Turkish society. Of course in this process, woman is the most affected. In patriarchal order the woman shaped with cultural codes and traditional social values is in a weak, thin-skinned, dependent-to-male state and yet again this state is imposed to society given the traditions as justification, once again. In the last instance, for the analyzed three television serials, it is possible to say that great majority of the female characters in these TV serials are being represented in accordance with the missions such as motherhood, housekeep, serve to husband and the family which are defined within the social gender patterns. Also, the patriarchal cultural understanding which is being presented to the society by TV serials is causing to sustain this patriarchal structure in the society becoming strong increasingly.

5 Zlssce Desing, 2017 http://www.zlsscetasarim.com/2015/03/mutfak-onlukleri.html

REFERENCES

Ahmed, A. (2012). Women and soap-operas: Popularity, portrayal and perception. International Journal of Scientific and Research Publications, 2, 1-6.

Aksel Y. S. C. (2011). Beyaz Camın Yerlileri: Dokunaklı Öyküler-Dokunulmaz Gerçeklikler, (The Inhabitants of White Glass: Touching Stories-Untouchable Realities). Kocaeli: Umuttepe Press.

Allen, R. C. (1985). Speaking of Soap Operas. North Carolina: University of North Carolina Press.

Almeida, M., Souza, R., & Fonseca, F. (2011). Semantics in the Semantic Web: a critical evaluation. Knowledge Organization Journal, 38(3), 187-203. Retrieved from: http://mba.eci.ufmg.br/downloads/spec_subm_KO_last.pdf

Alp, H. (2017). Ahmet Hakan’ın Tarafsız Bölge Programı Üzerinden Medyada Kadın Temsili Sorunu (Female Presentation Issue In Media Over The Tarafsiz Bölge (Neutral Zone) Program Of Ahmet Hakan. Karadeniz Technical University e journal of Faculty of Communication 4(13), 2-10. Retrieved from: http://www.ktu.edu.tr/dosyalar/iletisimarastirmalari_4841d.PDF

Andersen, M. L., & Taylor, H. F. (2012). Sociology: The Essentials (7th ed.). Canada: Nelson Education.

Arslan, A. (2006). M yanın bir y, toplu v kültür üz rin tkil ri. Journal of Human Sciences, 1(1), 2-12. Retrieved from: https://www.j-humansciences.com/ojs/index.php/IJHS/article/view/162

Atkin, D. (1991). The Evolution of Television Series Addressing Single Women, 1966-1990. Journal of Broadcasting & Electronic Media, 35(4), 517-523. DOI: http://dx.doi.org//10.1080/08838159109364144 61

Barrett & Braham, (1995), Media, Knowledge and Power, London: Routledge.

Baudrillard, J. (1994). Simulacra and Simulation. Michigan: University of Michigan Press.

Baudrillard, J. (1998). The Consumer Society: Myths and Structures. London: Sage Publication.

Bauman, Z., May, T. (2001). Thinking sociologically (2nd ed). Oxford, UK: John Wiley & Sons.

Benshoff, H. M., Griffin, S. (2004). America on Film: Representing Race, Class, Gender, and Sexuality at the movies (2nd ed.). Malden: Blackwell Publishing.

Bergemann, D., Bonatti, A. (2011). Targeting in advertising markets: implications for offline versus online media. The RAND Journal of Economics, 42(3), 417-443.

Bourdieu, J. (1997). On Television. New York: New Press

Briggs, A., Burke, P. (2009). A social History of the Media: from Gutenberg to the Internet. Cambridge: Polity Press.

Burton, G. (2002). More than Meets the Eye: An Introduction to Media Studies. Oxford: Oxford University Press.

Clarke, A. C. (1992). How the world was one. Beyond the Global Village. New York: Bantam Books.

Curran, J., Gurevitch, M., Woollacott, J. (Eds.). (1977). Mass communication and society. Set books / Open University. London: Edward Arnold in association with the Open University Press.

Crane, D. (2000). Fashion and its social agendas: Class, gender, and identity in clothing. Chicago: University of Chicago Press.

Creatonic. (2002). The History of Television in Turkey, Retrieved April 18, 2017, from http://www.creatonic.com/tv/history.htm 62

Ça , Ş. (2008). Medya Çalışmalarında İdeoloji: Epistemolojik ve Metodolojik Sorunlar (Ideology in Media Studies: Epistemological and Methodological Problems) Ankara: D ki Bası Yayın

Ç l nk, S. (2005). Televizyon, Temsil, Kültür (Television, Representation, Culture). Ankara: Ütopya Yayın vi.

Ç l nk, S vilay v Ti isi, Nilüf r (2000).Y rli Dra alar a Ka ının T sili v Ka ına Yön lik Şi t (Representation of Women in Domestic TV Serials and Violence Against Women). In N. B. Ç lik (E s.) Televizyon, Kadın ve Şiddet (Television, Women and Violence) (pp.23-64). Ankara: World Mass Communication Research Foundation Press.

Ç l nk, S. (2010,August-September) Aşk-ı Memnu’dan Aşk-ı Memnu’ya Yerli Dizi Serüvenimiz. (From Aşk-ı Memnu to Aşk-ı Memnu our domestic TV serials adventure). Birikim: 256-257, 21- 22. Retrieved from http://www.birikimdergisi.com/birikim/2433/256-257

Ç l nk, S vilay. 2010. Kadınların Medyada Temsili ve Etik Sorunlar (Women Representations in the Media and Ethical Issues). In B. Çaplı & H. Tuncel (Eds.), Televizyon Haberciliğinde Etik Sorunlar (Ethical Issues in Television Reporting) (pp. 229-236). Ankara: Ankara University Press.

Çoban, S. (2013). Proceeding from EAB 2013:‘The Fifth International Congress of Educational Research’ Çanakkale. Retrieved from http://www.eab.org.tr/eab/media/kitap/EAB_Kongre_Kitap_2013.pdf

Coşgun, M. (2012). Popüler Kültür ve Tüketim Toplumu (Popular Culture and Consuming Society). Batman University Journal of Life Sciences, 1, pp.837-850.

Dance, F. E. X. (1967). Human communication theory: Original essays. New York: Holt, Rinehart and Winston Press.

D irtaş, E. (2004). “Etnik Azınlıklar, Kültür l Ent grasyon v M ya aT sil: Nusayri Topluluğu Örn ği, (Ethnic Minorities,Cultural Integration and Representation in Media: Example of Nusayri Community) (Unpublished Master dissertations, Ankara Üniv rsity Institute of Social Sciences). Retrieved from http://acikarsiv.ankara.edu.tr/ 63

Dök n Ü. (2001). İletişim Çatışmaları ve Empati (Communication Conflicts and Empathy). İstanbul: Sist Yayınları.

Eisenstein, E. L. (2005). The Printing Revolution In Early Modern Europe. Cambridge: Cambridge University Press.

Elasmar, M., Hasegawa, K., Brain, M. (1999). The portrayal of women in US prime time television. Journal of Broadcasting & Electronic Media, 43(1), 20-34. DOI: http://dx.doi.org//10.1080/08838159909364472

Ellis, J. (1984). Visible Fictions. London: Routledge and Kegan Paul PLC.

Er oğan, İ., Al ar, K. (2005). Popül r kültür v il tişi (Popular Culture and Communication). Ankara: Erk Yayınları.

Feuer, Jane (1987) "Genre Study and Television." ( R.C.Allen ed.) New York: The University of North Carolina Press.

Fiske, John (1987) "Television Culture". London: Routledge Press.

FOURIE, P. J. (2001). Media Studies: Content, Audiences, and Production (Vol. 2). Landsowne: Juta and Company Ltd. Press

Fowler, R. (2013). Language in the News: Discourse and Ideology in the Press. London: Routledge.

Gerbner, G. (1967) "Mass media and human communication theory" Human communication theory Original essays. New York: Holt, Rinehart and Winston Publications.

Gerbner, G. (1969). Toward Cultural Indicators: The analysis of mass mediated public message systems. 17(2), 137-142.

Gerbner, G., Gross, L. (1973). Cultural indicators: the social reality of television drama. Washington D.C. :Retrieved from

http://www.eric.ed.gov/contentdelivery/servlet/ERICServlet?accno=ED079390 64

Gerbner, G. (1981). Cultural Indicators Project, TV Message Analysis. Unpublished document, The Annenberg School of Communications, University of Pennsylvania. Gerbner, G., Gross, L., Morgan, M., Signorielli, N. (1986). Living with television: The dynamics of the cultivation process. Perspectives on media effects, 17-40. Retrieved from http://wiki.commres.org/pds/CultivationTheory/LivingWithTelevision_TheDynamicsoftheCulti vationProcess.pdf Giddens, A. (2002). Sociology, 4th Edition. Cambridge. Polity Publishing.

Gün üz, Y. (2015). Possibl r fl ctions of popular culture on visual arts lessons. Journal of Academic Social Science Studies, 31, 387-401.

Gürkan, A. (2012). Ay ınlan anın Diyal ktiği v Kültür En üstrisi (A orno – Horkheimer), (The Dialectic of Enlightenment and the Cultural Industry (Adorno - Horkheimer). Retrieved March 12, 2017, from http://www.derindusunce.org/2012/08/20/aydinlanmanin-diyalektigi-ve-kultur-

endustrisi-adorno-horkheimer/

Gön nç, E,. Ö. (2012). Mass Culture and Mass Communication. İstanbul University Journal of Communication Faculty, 13, 129-138.

Hobbs, R. (1998). The seven great debates in the media literacy movement. Journal of

Communication, 48(1), 16–32. DOI: http://dx.doi.org/10.1111/j.1460-2466.1998.tb02734.x

HALL, Stuart, (1985) Signification, representation, ideology: Althusser and the post‐structuralist debates. Critical Studies in Media Communication, 2(2), 91-114.

Hall, S. (1997). Representation: Cultural representations and signifying practices, the work of representation chapter 1, (Vol. 2). London: Sage Publication.

Hansen, A., Cottle, S., Negrine, R., Newbold, C., (1998) Mass Communication Research Methods. New York: Palgrave Publishers.

Horkheimer, M., & Adorno, T. W. (1972). Dialectic of Enlightenment: Max Horkheimer and Theodor W. Adorono. New York: Seabury Press.

İnal, A. (1999). Televizyon Tür ve Temsil (Television Genre and Representation). Ankara: Ankara University Publishing House. İrvan, S. & Binark, M. (1995). Ka ın v Popül r Kültür (Wo an an Popular Cultur ). Ankara: Ark Press.

Ilikan, C., R. (2013). Experimental Television Broadcasting in Turkey and Its Reflection in the Printed Press (1968-1970). Global Media Journal Turkish Edition, 4, 97-117.

John, F. (1990). Introduction to Communication Studies. 2nd ed. London: Routledge.

Jackson, W. (1995). Methods: Doing social research. Scarborough, Ontario: Prentice Hall.

Kahraman, H., B. (2005). Sanatsal Gerçeklikler, Olgular ve Öteleri (Artistic Realities, Facts and Beyond.), 3rd edition, İstanbul: Agora Kitaplığı.

Kaplan, A. (1993) Televizyon (Television). İstanbul: Ağaç Publishing.

Kapsal, H. (2012). Womens Changing Social Identity Turkish TV Serials (master dissertations, Beykent University). YÖK-National Thesis Center Retrieved from https://tez.yok.gov.tr/UlusalTezMerkezi/tezSorguSonucYeni.jsp

Karaca, Y., Papatya, N. (2011). The Woman Image In Advertisements: An Evaluation Related To National Television. Suleyman Demirel University Journal of Faculty of Economics & Administrative Sciences, 16, pp.479-500.

Karagoz. H. (2009) Dünya ve Türkiye’de Özelleştirme Uygulamaları (Privatization Practices in the World and Turkey). Konya: Chamber of Commerce Publishing.

Kazıcı, Z. (2006). İslam Medeniyeti Ve Müesseseleri Tarihi (History of Islam Civilization and Institutions). İstanbul: Theology Faculty Foundation.

Koca aş, B. (2006). Cultur an M ia. Journal of International Human Sciences ISSN: 1303-5134 1(1). Retrieved From https://www.j-humansciences.com/ojs/index.php/IJHS/article/.../84

Kozloff, S. (1992). Narrative Theory and Television. In Robert C. Allen, (eds.) Channels of discourse, reassembled: television and contemporary criticism (67-100). North Carolina: Univ of North Carolina Press. Kös , A. (2011). Proceeding from 2006: The Second International Social Rights Symposium. Kocaeli. Laughey, D. ( 2010). Media Studies: Theories and Approaches. Harpenden: Oldcastle Books.

Lee, B., & Lee, R. S. (1995). How and why people watch TV: Implications for the future of interactive television. Journal of Advertising Research, 35, pp, 9-19.

Lopez, A. (2000:58). Targeting Media. Sydney: Blake Education.

Malinowski, B. (1960). A Scientific Theory of Culture, and Other Essays. New York:Oxford University Press.

McLeod, Jack M., Kosicki, Gerald M., & Pan, Zhongdang (1991). On understanding and misunderstanding media effects. In James Curran and Michael Gurevitch, (Eds.), Mass Media & Society (pp.235-266). London: Edward Arnold.

McLuhan, M. (1962). The Gutenberg Galaxy: The making of typographic man. London: Routledge.

McLuhan, M., Fiore, Q. (1967). The Medium is the Massage: An inventory of effects. London: Penguin Press.

McQuail, D., Windahl, S. (1997). Communication models for the study of mass communications. London: Routledge.

M ngü, Ç. S. (2004). Televizyon Reklamlarında Kadına Yönelik Oluşturulan Toplumsal Kimlik (Social Identity Created Towards Women in TV Advertisements). İstanbul: İstanbul University Faculty of Communication Publications.

Mutlu, M. M. (2013). Women and Tradition in Turkish Television Culture: The Modern day representations of Rape and Pre-marital sexuality, (doctoral dissertation Uppsala University). DiVA University’s publication database. Retrieved from http://uu.diva-portal.org/smash/AUIClients/AmazonUI#not-trident.96511-T 67

Neuendorf, K. (2002). The Content Analysis Guidebook, Thousand Oaks, CA: Sage Publications. Öğüt, Ç. G. (2008). Popül r kültürün toplu sal tkil ri v pop sanat (Popular cultur ‘s social effects and pop art) (Doctoral dissertation, Dokuz Eylül University). YÖK-National Thesis Center Retrieved from http://ulusaltezmerkezi.com/populer-kulturun-toplumsal-etkileri-ve-pop-sanat-popular- cultures-social-effects-and-pop-art/

Özsoy, A. (2006). Proceeding from 2006: The second International Public Relations Symposium. Kocaeli. Retrieved from http://www.eab.org.tr/eab/media/kitap/EAB_Kongre_Kitap_2013.pdf

Özsoy A. (2015). Yerli Televizyon Dizil rin Farklilaşan Toplu sal Cinsiy t T sill ri Üz rin Bir Tartiş a (A Discussion On Differentiated Social Gender Representation In The Domestic Televisions). In Şahin Y. (eds.), Toplumsal Cinsiyet ve Medya Temsilleri (Gender and Media Representations) (pp. 226-246), İstanbul: Heyamola Press.

Postman, N. (2006). Amusing ourselves to death: Public discourse in the age of show business. New York: Penguin Press.

Potter, J., W. (2005). Media Literacy. Third Eddition. CA: Sage Publications.

Rabassiere, H, (1960). In defense of Television. Glencoe: Free Press.

Ritter, H. (1986). Dictionary of concepts in history (Vol. 3). Wesport: Greenwood Publishing Group.

Ross, K., Carter, C. (2011). Women and news: A long and winding road. Media, Culture & Society, 33(8), 1148-1165. DOI: http://dx.doi.org//10.1177/0163443711418272

Rudy, R., Popova, L., Linz, D. (2010). The Context of Current Content Analysis of Gender Roles: An Introduction to a Special Issue. Sex Roles, 62(11-12), 705-720. DOI: http://dx.doi.org//10.1007/s11199-010-9807-1

Saad, G. (2004). Applying Evolutionary Psychology In Understanding The Representation of women in advertisements. Psychology & Marketing, 21, 593-612.

DOI: http://dx.doi.org//10.1002/mar.20020

Serim, Ö. (2007). Türk televizyon Tarihi, 1952-2006 (Turkish Television History, 1952-2006). Istanbul: Epsilon Press.

Signorielli, N. (1989). Television and conceptions about sex roles: Maintaining conventionality and the status quo. Sex Roles, 21 (5/6), 341-360. DOI: http://dx.doi.org//10.1007/BF00289596

Smith, S. L., Choueiti, M., Pieper, K., Gillig, T., Lee, C., DeLuca, D. (2015). Inequality in 700 Popular Films: Examining Portrayals of Gender, Race & LGBT Status from 2007 to 2014. Retrieved March, 04, 2017, from http://annenberg.usc.edu/pages/~/media/MDSCI/Inequality%20in%20700%20Popular%20Films %208215%20Final%20for%20Posting.ashx

Striegel, J. (1978) McLuhan on Media. Unpublished PhD dissertation, Union University, Jackson- Tennessee: Print Swingewood, A. (1977). The myth of mass culture. New Jersey: Humanities Press.

Tanriover, H., U. (2005). Diziler: Türkiye'nin En Sevdiği Alışkanlık (TV Series Turkey's Favorite Habit). Retrieved January 29, 2017, from http://www.nationalgeographic.com.tr/makale/nisan_2015/diziler-turkiyenin-en-sevdigi- aliskanlik/2439

Tanrıöv r, H., U. (2007). Kadın Odaklı Habercilik: Medyada Kadınların Temsil Biçimleri ve Kadın Hakları İhlalleri (Women-Focused Reporting: The Representation Forms of Women in the Media and Violations of Women's Rights.). İstanbul: IPS Communication Foundation Publications.

Tanrıöv r, H. U. (2012). Türkiye’de Televizyon Yayıncılığı (Television Broadcasting in Turkey). İstanbul: Istanbul Chamber of Commerce Publications.

Timisi, N. (2010). “Kadınların İnsani Gelişmesinde Medyanın Rolü ve Eğitim”, (The Role of Media in the Humanitarian Development of Women and Education.) In M. Tunçoku (Eds), Toplumsal Gelişmede Türk Japon Kadınının Eğitimi Çalışmaları Paneller ve Araştırma Sonuçları

(Turkhish / Japanese Women's Education Studies in Community Development, Panels and Research Results) (pp.87-92). Ankara: Pozitif Press.

Tyner, K. (1993). Media Literacy in a Digital Age. Mahwah, NJ: Erlbaum.

Van Dijk, T. A. (1982). Opinions and attitudes in discourse comprehension. Advances in Psychology, 9, 35-51.

Varol, S. F. (2014). M ya a Y r Alan T sill rin Ki lik E in Sür cin ki Rolü. The Journal of Academic Social Science Studies, 26, 301-313.

Vural, A., M. (2000). M yanın Kültür l Kalkın ayı Sağla a v Eğiti İşl vi (Education and the Providing Function of Media for Cultural Development). Istanbul University Faculty of Communication Journal, İstanbul: İ.Ü Publishing House. Pp.10, Retrieved 16, December, 2016, from http://dergipark.gov.tr/iuifd/issue/22879/244597

Wasson, H. (1973). The Ms. in Magazine Advertising. In R. King (Ed.) Proceedings 1973 Conference of the Southern Marketing Association. Virginia.

Weigel, R. H., & Loomis, J. W. (1981). Televised models of female achievement revisited: Some progress. Journal of Applied Social Psychology, 11(1), 58- 63. DOI: http://dx.doi.org//10.1111/j.1559-1816.1981.tb00822.x

Williams, R. (1968). Communications. London: Penguin Books.

Woodward, K. (1997). Concepts of Identity and Difference. Londra: Sage Publications.

Yıl az, A. (2009). Türkiy ’ 1990 Sonrası Dön Öz l T l vizyon Yayıncılığı Bağla ında İzl yici-T l vizyon İlişkisi (Audiance-Television Relations in the Context of Private Television Broadcasting in the Post-1990 Period in Turkey) (doctoral dissertations, Ankara University). YÖK-National Thesis Center Retrieved from http://ulusaltezmerkezi.com/turkiyede-1990-sonrasi-donemde-ozel-televizyon-yayinciligi- baglaminda-izleyici-televizyon-iliskisi-turkiyede-1990-sonrasi-donemde-ozel-televizyon- yayinciligi-baglaminda-izleyici-televizyon-iliskisi/3/ Zoonen, L., V. (1994). Feminist Media Studies. London: Sage Publications 70

ANNEXES

1. General Information about Female Characters in Kalbimdeki Deniz

Actress Name of the Role Description of Character Character position Özg Özb rk Deniz Major Deniz is the main character in serial, has everything a woman can Öztuna ask for but, when her husband disappeared no trace, this happy life changes. She is helpless with her two children and her father unawar that h r husban ’s starts to his n w lif with his lov r. Y şi C r n Fikriye Major Fikriye is the next-door neighbor in neighborhood where Deniz has Bozoğlu Yıl az just moved in. She has bad character. She has no problem in gossiping, vilifying and dishonesty. She also has been carrying grudge against the rich people since she started to work as housekeeper. She has been felt in love with Mirat platonically for her childhood. She becomes the biggest enemy of Deniz because of the intimacy between Deniz and Mirat. D vin Özgür Hülya Major Hulya is Deniz's so-called closest friend since their childhood. Çınar Aksal They had grown up together in the same neighborhood but Deniz got married to a rich and well-known businessman and thanks to her marriage she had moved up the social ladder. Hulya, got married to a lawyer from middle-class. She is very ambitious woman and always tries to take revenge on Deniz due to all things that sh r a but coul n’t hav . So uch so that, v n sh caused to break up Deniz's marriage by inciting her assistant Sebnem to have sexual relations with Deniz's husband. Zeynep Ş bn Minor Ş bn is Hulya’s assistant. Sh grabs att ntion with h r s xuality. Aydemir Başaran Ş bn acc pts Hulya’s plan without a s con thought an sh

o s v rything to s uc D niz’s Husban Alihan. Sebahat Diyar Minor Diyar who is daughter of a rich and powerful landlord has a Ku aş Sarıkaya character that always questions her life which is under the shadow of custom and traditions. She dreams to start a new life away from her family by getting married with her lover. According to her Known as custom the punishment of having a child out of marriage is death Selma and when her pregnancy outcrops she has no other choice than run away. Diyar meets Mirat by chance in somehow. So she starts to live in Mirat's mansion with Deniz. Hazal Ece Minor Sh is D niz’s aught r. Ec is a spoil young girl who grown up A ıya an Öztuna in luxurious life conditions without facing any difficulties. Despite her fondness for her father, she constantly faces contradictions with her mother. Ece in teenage depression, has compliance problems in poverty and class conflict in the neighbourhood that she has just moved in. Nazlı Pınar Figen Minor Fig n is Fikriy ’s aught r an sh is th b st fri n of Ec in th Kaya Yıl az neighborhood. Melissa D ğ r Muge Minor Ec ’s class at an at th sa ti Ec ’s bigg st n y.

Güzin Usta Cemile Minor Fikriy an Mirat’s n ighbor. C il is consci ntious an a oth r Şahin h n wo an who tri s to liv with wi ow’s p nsion afh r h r

husband death. Merve Aysal Elvan Minor Elvan is Diyar's Cousin. She is a woman who has no education. Sarıkaya Elvan is an entirely country woman portrait. Hülya Ş n Nursen Minor Diyar’s oth r. An oppr ss wo an who suff r un r th Sarıkaya custom. 71

2. General Attributes of Female Characters in Kalbimdeki Deniz

Character Age Martial Occupation Educational Personality General status Background Traits Appearance Deniz 35-40 Divorced Part-time High school Honest Well gromed years employee graduate Faithful Athletic of age Industrious Blond Hair Helpful With makeup Principled Fikriye 40-45 Married Charwoman Unspecified Jealous Poorly groomed years Crafty With makeup of age Liar Non-athletic Intriguer Brown hair Back biter Gossiper Hülya 35-40 Married Bank University Jealous Well gromed years Officer graduate Insidious Athletic of age Selfish Black hair Liar With makeup Betrayer Opportunist Selma 17 Single Housewife Unspecified Clean hearted Poorly groomed Faithful Non-athletic Helpful Black hair Reticent Without makeup Ş bn 25-30 Single Assistant University Money Well gromed Years graduate Grubber Athletic of age Selfish Brown hair With Liar With makeup Wealth Hunter Ece 18 Single Student High-schooler Haughty Well gromed Quarrelsome Athletic Prejudiced Brown-haired Selfish Without makeup Figen 18 Single Student High-schooler Helpful Poorly groomed Friendly Athletic Ingenuous Black hair Without makeup Müg 18 Single Student High-schooler Ambitious Well gromed Jealous Athletic Selfish Blond hair With makeup Nurş n 45-50 Married Housewife Unspecified Enduring Poorly groomed years Oppressed Without makeup of Reticent Non-athletic age No information (Wearing hijab) Elvan 20-25 Single Housewife Unspecified Helpful Poorly groomed years Clean hearted Without makeup of Non-athletic age Brown hair Cemile Above Widow Housewife Unspecified Mother Hen Poorly groomed 50 Conscientios Without makeup years charitable Non-athletic Grey hair

3. General Information about Female Characters in Aşk ve Mavi

Actress Name of the Role Description of Character Character Position Burcu Kıratlı Mavi Major Mavi is a beautiful and young woman but gone down with her Gör çki b lov broth r’s ath, sh go s p r own with h r fath r taking bloo Mon y fro h r broth r’s ur r r an turns away from her family. The only aim for Mavi in life is now to kill the murderer of her brother; Ali. So,she exchanges letters with Ali for three years during his jail times they get married at the day after when Ali's gets out of prison and Mavi tries to kill him on the wedding day. Işık Yüc soy Refika Major R fika is Ali’s oth r an Mavi’s oth r in lov . Sh is a strong Gör çki and authoritarian woman who has lots of life experiences and she is th l a r of Gör çki fa ily. Th only thing that att r for h r is

her children. So, she becomes Mavi’s gr at st n y, th on who tries to kill her son; Ali. Alayça Safiye Major Safiy is th wif of Ali’s big broth r C al. A shr w , politic an Öztürk Gör çki officious wo an Safiy , a ust th balanc s in th Gör çki

Mansion by forgoing things when needed. Ayş gül Hasibe Major Hasibe is mother of Mavi. Uncouth and officious woman Hasibe, Ünsal Yıl az is also so money-minded that she forces her husband to accept bloo on y for th ir son’s ur r r. Sh tri s all h r ways to

move in into th Gör çki Mansion aft r h r aught r Mavi’s marriage. Birgül Birgül Minor Birgul is th butl r of Gör çki Mansion. Sh is a capabl of Ulusoy everything woman who has eyes and ears in everywhere. Though sh looks happy to s rv Gör çki’s, sh s s th responsible for her long-gone youth and does little betrayals to take revenge. Merve Gülizar Minor Gör çki ail ostu ayni za an a a ko susu ur. Z ngin bir ail nin Er oğan Akgül kizi olan Gulizar bakimli ayni zamandada egitimli bir kadindir. Tek

istegi kendi ailesi gibi zengin ve nufuslu bir aileye gelin olmaktir. Selin Pembe Minor P b is Mavi’s sist r. S art an shr w girls P b pulls on Du lugöl Yıl az any ga s to arry Ali’s littl broth r Is t an to liv in th

Gör çki’s Mansion. Gül r n Sevda Minor C al an Safiy ’s aught r. Naiv , soft-hearted and introvert Gül r Gör çki S v a is trick by Mavi’s oth r an sh arri s with so on

on the age of 18, without her parent's consent. Nur Yazar Fatma Minor Fat a is Hasib ’s aught r in law an Mavi’s aunt in law. Sh is Yıl az widowed after her husband Ahmet is murdered by Cemal. She tries to hi th s cr t that h r son M tin’s fath r is Ali’s broth r C al while trying to raise her son by yourself. Yıl ız Hatice Minor Hatic is th ai of th hous , who is lov with Ali’s littl broth r Ustabaş Ismet. Sh raws a wo an profil that’s grown up in suburbs without education.

4. General Attributes of Female Characters in Aşk ve Mavi

Character Age Marital Occupation Educational Attitude General status Background Appearance Mavi 20-25 Married Worker Unspecified Honest Well groomed years of Faithful Athletic age Industrious Brown hair Helpful With light Principled makeup Refika Above Married Housewife Unspecified Mother hen Well groomed 50 years Dominant Non-athletic of age Powerful Grey hair Appropriative With light makeup Safiye 35-40 Married Housewife Unspecified Jealous Well groomed years of Shrewd Athletic age Politic Brown hair With makeup Hasibe 40-45 Widow Housewife Unspecified Money Poorly groomed years of Grubber Non- athletic age Liar Without makeup Crafty Black hair Meddlesome Birgül 40-45 Single Housekeeper Unspecified Gossiper Poorly groomed Years of Garrulous Non- athletic age Money Without makeup Grubber Black hair Meddlesome Gülizar 20-25 Single Housewife University Jealous Well groomed Years of graduate Meddlesome Athletic age Liar Brown hair With makeup Pembe 18 Single Student High-schooler Cold-hearted Poorly groomed Wealth Hunter Athletic Shrewd Brown hair Ambitious Without makeup Sevda 18 Married Student High-schooler Clean-hearted Well groomed Friendly Athletic Reticent Brown hair Honest Without makeup Hatice 20-25 Single Housekeeper Unspecified Meddlesome Poorly groomed Years of Opportunist Athletic age Gossiper Brown hair Without makeup Fatma 30-35 Widow Housewife Unspecified Suffered Poorly groomed years of Reticent Non- athletic age Clean-hearted Brown hair Without makeup

5. General Information about Female Characters in Anne

Actress Name of the Role Type Description of Character Character Cansu Dere Z yn p Gün ş Major A wo an who‘s thoughtl ss against lif , trusting no on , an cold being left alone by her mother at the age of five. While hating her real mother, she is also distant from her foster family. Childhood traumas made her build up walls between her and her

step sisters and mother. She feels alone and outcast. Her look on life and people changes by meeting Melek and she begins to experience feeling like love, mercy and sharing. Gonca Şul Akçay Major Şul is a ruthl ss oth r who being a prostitute in night clubs as Vuslateri a living. She lives in a shanty house with her daughter Melek and her lover Cengiz. She has psychological problems due to bad experiences in her past and life conditions at the present. At the same time she is woman who devoid of sense of motherhood as well as would prefer to her boyfriend Cengiz instead of her littl aught r. Du to h r a iction to h r lov r, sh o sn’t even see her daughter's being physically and psychologically abused by him. She makes a plan to kill her daughter and at a night she leaves her in a garbage bag on the street. Vahide Gönül Aslan Major Z yn p’s r al oth r. Gönül go s in ail in h r youth an is Gör ü forced to give away Zeynep to another family. She lives with the pain in her conscious, b caus sh l ft h r aught r. Gönül tri s to t ll Z yn p v rything onc sh ’s out of prison. Gül nay Cahi Gün ş Major Z yn p’s st p oth r. Cahi who is a rich an achi ving Kalkan lawy r, a opts Z yn p aft r h r oth r’s b n s nt to prison an rais s h r lik h r own chil r n. Aft r Gönül g ts out of prison, she works very hard to not lose Zeynep. Ahs n Eroğlu Duru Gün ş Minor Duru is Z yn p’s littl st p–sister. She is the most innocent, naiv an goo h art b r of Gün ş fa ily. Sh tri s for everyone to live happily together and tries to ease the tension

between her sisters to maintain the balances in the house. Duru is also the biggest supporter of Zeynep. Aliz Gör ü Ga z Gün ş Minor Z yn p’s st p –sister. Gamze is an ill-tempered, selfish and thoughtless young lady. She draws an exact spoiled-rich girl portrait.She sees Zeynep as a rival and she does not want to

share her mother with her. Gamze sleeps with her boy friend 75 before marriage and gets pregnant.

6. General Attributes of Female Characters in Anne

Character Age Marital Occupation Educational Personality General status Background Traits Appearance

Zeynep 25-30 Single Photographer University Honest Well groomed Years graduate Faithful Athletic of age merciful Black hair Helpful With light Principled makeup Şul 26 Single Prostitute Unspecified Psychopathic Poorly groomed Irresponsible Athletic merciless Black hair Disrespectful With makeup Selfish Gonul 45 -50 Widow Shop owner Unspecified Big-hearted Poorly groomed Years Suffering Non- athletic of age Resistant Grey hair Faithful Without makeup Reticent Cahide 45-50 Widow Lawyer University Big-hearted Well groomed Years graduate Supporter Non-athletic of age Helpful Blond hair Endearious With makeup Duru 20-25 Single Student University Clean hearted Well groomed Years Student Faithful Athletic of age Helpful Brown hair Honest With makeup Gamze 20-25 Single Student University Selfish Well groomed Years Student Jealous Athletic of age Ill-Tempered Black hair Prejudiced With makeup