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The extraordinary global success of Turkish drama serials is a significant development in contemporary popular culture. This book presents comparative audience data from three different regions to explore its ramifications across the Global South. We learn how this phenomenon has transformed Turkey-a Muslim-majority country-into the world's second-largest producer of scripted television serials, enticing audiences from all over the world. The book takes an audience-centred approach, investigating the reasons for the allure of Turkish dramas to Arab, Latin American, and Israeli audiences. In tandem, it explores Turkey's changing foreign policy, economic, and trade relationships since the turn of the millennium, which have coincided with the enormous success of the country's television output. It also analyses the role and importance of Turkish dramas as a soft-power tool by scrutinizing how they have influenced viewers' perceptions of Turkey, its people, and its culture. This volume will appeal to those working in various disciplines-from media and communication, international relations, public diplomacy, sociology, and Middle Eastern studies. The material will also be of great relevance to upper-level undergraduates, postgraduate students, academics, scholars and researchers.

Television programs. --- Television series.

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What is a television series? A widespread answer takes it to be a totality of episodes and seasons. Luca Bandirali and Enrico Terrone argue against this characterization. In Concept TV: An Aesthetics of Television Series, they contend that television series are concepts that manifest themselves through episodes and seasons, just as works of conceptual art can manifest themselves through installations or performances. In this sense, a television series is a conceptual narrative, a principle of construction of similar narratives. While the film viewer directly appreciates a narrative made of images and sounds, the TV viewer relies on images and sounds to grasp the conceptual narrative that they express. Here lies the key difference between television and film. Reflecting on this difference paves the way for an aesthetics of television series that makes room for their alleged prolixity, their tendency to repetition, and their lack of narrative closure. Bandirali and Terrone shed light on the specific ways in which television series are evaluated, arguing that some apparent flaws of them are, indeed, aesthetic merits when considered from a conceptual perspective. Hence, to maximize the aesthetic value of television series, one should not assess them in the same framework in which films are assessed but rather in a distinct conceptual framework.

Television series --- History and criticism --- Philosophy

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Genre und Serie bilden wesentliche Ordnungsschemata, unter denen filmische und televisuelle Werke organisiert, produziert, vermarktet, wahrgenommen und bewertet werden. Die Beiträge des Bandes reflektieren diese Schemata ebenso im Hinblick auf ihre historische und intertextuelle Dynamik wie in Bezug auf ihre Funktion als Schablonen film-, fernseh- und medienwissenschaftlicher Untersuchungen. Genre und Serie bilden wesentliche Ordnungsschemata, unter denen filmische und televisuelle Werke organisiert, produziert, vermarktet, wahrgenommen und bewertet werden. Die Beiträge des Bandes reflektieren diese Schemata ebenso im Hinblick auf ihre historische und intertextuelle Dynamik wie in Bezug auf ihre Funktion als Schablonen film-, fernseh- und medienwissenschaftlicher Untersuchungen.

Film series. --- Film genres. --- Television series.

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"The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'"--

Television series --- Television series --- Television programs --- History and criticism --- Social aspects --- History

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Serialized fiction --- Television series --- History and criticism --- History and criticism