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Dizi Formatlarinin Uluslararasi Dolaşiminda Kültürel Adaptasyon Unsurlarinin Belirlenmesi: The Good Doctor Örneği

Year 2025, Issue: 69, 96 - 111, 18.03.2025
https://doi.org/10.47998/ikad.1574344

Abstract

Küreselleşme ve neoliberal piyasa koşulları çerçevesindeki rekabet, kitle iletişim araçlarında yayınlanan içeriklerin, farklı kültür ve toplumlarda üretilse bile benzerlikler göstermesine neden olmaktadır. Kitle iletişim platformlarında yayınlanan dizi ve filmlerin ülkeler, kültürler ve coğrafyalar arasında yeniden sahnelenerek veya uyarlanarak dolaşıma girdiği sıklıkla görülmektedir. Küreselleşme kültürleri birbirine yakınlaştırıp izleyicilerin ithal filmleri ve dizileri dublaj veya altyazılı olarak izleseler de uyarlama yapımlar kültürel yakınlığın sağlanmasını ve dizilerin başarısını arttırıyor. Bu çalışmada, söz konusu dizilerden en çok uyarlananlardan biri olan Good Doctor dizisi vaka olarak ele alınmış, böylelikle, orijinal Kore yapımı ile Türk ve ABD uyarlamaları arasındaki benzerlik ve farklılıklar açısından analiz edilmiştir. Her üç yapım da tematik analiz ile incelenerek kültürel olarak farklı ve benzer temalar belirlenmeye çalışılmıştır. Sonuç olarak orijinal hikâye ve uyarlamalar incelendiğinde otizm durumu, cinsiyet rolleri ve özellikleri, aile ilişkileri, yemek kültürünün detayları, kelime kalıpları gibi temalar ortaya çıkmıştır. Farklılık gösteren ise bu temaların işlenişinin kültürlere göre farklılıklar göstermesi olmuştur.

References

  • Adriaens, F., & Biltereyst, D. (2012). Glocalized telenovelas and national identities. Television & New Media, 13(6), 551–567. https://doi.org/10.1177/1527476411427926
  • Albaum, G., & Tse, D. K. (2001). Adaptation of international marketing strategy components, competitive advantage, and firm performance: A study of Hong Kong exporters. Journal of International Marketing, 9(4), 59–81. https://doi.org/10.1509/jimk.9.4.59.19943
  • Amendola, A., & Tirino, M. (2019). Mediology of literature: A sociocultural approach for the study of narrative ecosystems. The case of the body snatchers. Italian Journal of Sociology of Education, 11(2), 253–277. https://doi.org/10.14658/pupj-ijse-2019-2-12
  • Aykol, B., İpek, İ., & Bıçakcıoğlu-Peynirci, N. (2021). TV series adaptations and their repercussions on consumers: İnsights from two complementary qualitative analyses. Journal of Marketing Management. https://doi.org/10.1080/0267257X.2021.1940244
  • Beeden, A., & de Bruin, J. (2010). The Office. Television & New Media, 11(1), 3–19. https://doi.org/10.1177/1527476409338197
  • Blakey, E. (2017). Showrunner as auteur: Bridging the culture/ economy binary in digital Hollywood. Open Cultural Studies, 1(1), 321–332. https://doi.org/10.1515/culture-2017-0029
  • Braun, V., Clarke, V., & Hayfield, N. (2022). ‘A starting point for your journey, not a map’: Nikki Hayfield in conversation with Virginia Braun and Victoria Clarke about thematic analysis. Qualitative Research in Psychology, 19(2), 424–445. https://doi.org/10.1080/14780887.2019.1670765
  • Castelló, E. (2010). Dramatizing proximity: Cultural and social discourses in soap operas from production to reception. European Journal of Cultural Studies, 13(2), 207–223. https://doi.org/10.1177/1367549409352274
  • Chalaby, J. K. (2015). The advent of the transnational TV format trading system: A global commodity chain analysis. Media, Culture & Society, 37(3), 460–478. https://doi.org/10.1177/0163443714567017
  • Chalaby, J. K. (2016). Television and globalization: The tv content global value chain. Journal of Communication, 66(1), 35–59. https://doi.org/10.1111/jcom.12203
  • Chen, S. (2016). Cultural technology: A framework for marketing cultural exports – analysis of Hallyu (the Korean wave). International Marketing Review, 33(1), 25–50. https://doi.org/10.1108/IMR-07-2014-0219/FULL/PDF
  • Craig, C. S., Greene, W. H., & Douglas, S. P. (2005). Cultural matters: Consumer acceptance of U.S. films in foreign markets. Journal of International Marketing, 13(4), 80–103. https://doi.org/10.1509/jimk.2005.13.4.80
  • Esser, A. (2016). The format age. Television’s entertainment revolution. by Jean Chalaby. Popular Communication, 14(4), 243–246. https://doi.org/10.1080/15405702.2016.1179545
  • Esser, A., Bernal-Merino, M., & Smith, I. R. (2016). Media across borders: Localizing TV, film, and video games. In Media Across Borders: Localising TV, Film and Video Games. https://doi.org/10.4324/9781315749983
  • Katsikeas, C. S., Morgan, N. A., Leonidou, L. C., & Hult, G. T. M. (2016). Assessing performance outcomes in marketing. Journal of Marketing, 80(2), 1–20. https://doi.org/10.1509/JM.15.0287
  • Katsikeas, C. S., Samiee, S., & Theodosiou, M. (2006). Strategy fit and performance consequences of international marketing standardization. Strategic Management Journal, 27(9), 867–890. https://doi.org/10.1002/SMJ.549
  • Keinonen, H. (2016). Television format as cultural negotiation: Studying format appropriation through a synthesizing approach. VIEW Journal, 5(9), 60–71. https://doi.org/10.18146/2213-0969.2016.jethc103
  • Keinonen, H. (2017). Television format as cultural technology transfer: importing a production format for daily drama. Media, Culture and Society, 39(7), 995–1010. https://doi.org/10.1177/0163443716682076
  • Kesirli Unur, A. (2015). Discussing Transnational format adaptation in Turkey: A study on Kuzey Güney. International Journal of TV Serial Narratives, 1(2), 139–150.
  • Kim, H., & Jensen, M. (2014). Audience heterogeneity and the effectiveness of market signals: How to overcome liabilities of foreignness in film exports? Https://Doi.Org/10.5465/Amj.2011.0903, 57(5), 1360–1384. https://doi.org/10.5465/AMJ.2011.0903
  • Kuipers, G. (2011). Cultural globalization as the emergence of a transnational cultural field: Transnational television and national media landscapes in four european countries. American Behavioral Scientist 55(5), 541–557. https://doi.org/10.1177/0002764211398078
  • La Pastina, A. C., & Straubhaar, J. D. (2005). Multiple proximities between television genres and audiences: The schism between telenovelas’ global distribution and local consumption. International Communication Gazette, 67(3), 271–288. https://doi.org/10.1177/0016549205052231
  • Lee, F. L. F. (2008). Hollywood movies in East Asia: Examining cultural discount and performance predictability at the box office. Asian Journal of Communication, 18(2), 117–136. https://doi.org/10.1080/01292980802021855
  • Lee, F. L. F. (2009). Cultural discount of cinematic achievement: The academy awards and U.S. movies’ East Asian box office. Journal of Cultural Economics, 33(4), 239–263. https://doi.org/10.1007/S10824-009-9101-7/TABLES/7
  • Lorenzen, M. (2007). Internationalization vs globalization of the film industry. Https://Doi.Org/10.1080/13662710701543650, 14(4), 349–357. https://doi.org/10.1080/13662710701543650
  • Mikos, L., & Perrotta, M. (2012). Traveling style: Aesthetic differences and similarities in national adaptations of yo soy betty, la fea. International Journal of Cultural Studies, 15(1), 81–97. https://doi.org/10.1177/1367877911428116
  • Mirrlees, T. (2013). Global entertainment media: Between cultural imperialism and cultural globalization. Taylor and Francis. https://doi.org/10.4324/9780203122747
  • Moran, A. (1996). Film policy: international, national, and regional perspectives. Routledge.
  • Moran, A. (2009a). New Flows in Global TV. In New Flows in Global TV. Intellect.
  • Moran, A. (2009b). TV formats worldwide: Localising global programs. Intellect.
  • Perdikaki, K. (2017). Film adaptation as translation: An analysis of adaptation shifts in silver linings playbook. Anafora: Časopis Za Znanost o Književnosti, 4(2), 249–264. https://doi.org/10.29162/anafora.V4I2.5
  • Samiee, S., & Chirapanda, S. (2019). International Marketing Strategy in Emerging-Market Exporting Firms. Journal of International Marketing, 27(1), 20–37. https://doi.org/10.1177/1069031X18812731
  • Sasaki, I., Nummela, N., & Ravasi, D. (2021). Managing cultural specificity and cultural embeddedness when internationalizing: Cultural strategies of Japanese craft firms. Journal of International Business Studies, 52(2), 245–281. https://doi.org/10.1057/S41267-020-00330-0/TABLES/12
  • Shirky, C. (2008). Here comes everybody: How change happens when people come together. In British Journal of General Practice. Penguin.
  • Sinha, A., Gu, H., Kim, N., & Emile, R. (2019). Signaling effects and the role of culture: Movies in international auxiliary channels. European Journal of Marketing, 53(10), 2146–2172. https://doi.org/10.1108/EJM-09-2017-0587/FULL/PDF
  • Straubhaar, J. D. (1991). Beyond media imperialism: Asymmetrical interdependence and cultural proximity. Critical Studies in Mass Communication, 8(1), 39–59. https://doi.org/10.1080/15295039109366779
  • Van Keulen, J., & Krijnen, T. (2014). The limitations of localization: A cross-cultural comparative study of Farmer Wants a Wife. International Journal of Cultural Studies, 17(3), 277–292. https://doi.org/10.1177/1367877913496201
  • Villegas-Simón, I., & Soto-Sanfiel, M. T. (2020). Similarities in adaptations of scripted television formats: The global and the local in transnational television culture. Poetics, 101524. https://doi.org/10.1016/j.poetic.2020.101524
  • Walls, W. D., & McKenzie, J. (2012). The changing role of Hollywood in the global movie market. Journal of Media Economics, 25(4), 198–219. https://doi.org/10.1080/08997764.2012.729544
  • Wells-Lassagne, S. (2017). Television and serial adaptation. In Television and Serial Adaptation (First). Routledge.

Determination of Cultural Adaptation Elements in the International Circulation of Tv Series Formats: The Case of the Good Doctor

Year 2025, Issue: 69, 96 - 111, 18.03.2025
https://doi.org/10.47998/ikad.1574344

Abstract

Competition within the framework of globalization and neoliberal market conditions causes the contents published in mass media to declare similarities even if they are produced in different cultures and societies. It is often seen that TV series and movies broadcast on mass media platforms are re-staged or adapted and circulated across countries, cultures and geographies. Although globalization brings cultures closer together and audiences watch imported films and series with dubbing or subtitles, adaptation productions ensure cultural closeness and increase the success of the series. In this study, the Good Doctor series, one of the most adapted TV series, was taken as a case and analysed in terms of similarities and differences between the original Korean production and the Turkish and US adaptations. All three productions were examined with thematic analysis, so that, culturally different and similar themes were tried to be determined. As a result, when the original stories and adaptations were examined, themes such as autism, gender roles and characteristics, family relationships, details of food culture, and word patterns emerged. What is different is that the treatment of these themes varies according to cultures. The methodology and results were resented as differences and similarities.

References

  • Adriaens, F., & Biltereyst, D. (2012). Glocalized telenovelas and national identities. Television & New Media, 13(6), 551–567. https://doi.org/10.1177/1527476411427926
  • Albaum, G., & Tse, D. K. (2001). Adaptation of international marketing strategy components, competitive advantage, and firm performance: A study of Hong Kong exporters. Journal of International Marketing, 9(4), 59–81. https://doi.org/10.1509/jimk.9.4.59.19943
  • Amendola, A., & Tirino, M. (2019). Mediology of literature: A sociocultural approach for the study of narrative ecosystems. The case of the body snatchers. Italian Journal of Sociology of Education, 11(2), 253–277. https://doi.org/10.14658/pupj-ijse-2019-2-12
  • Aykol, B., İpek, İ., & Bıçakcıoğlu-Peynirci, N. (2021). TV series adaptations and their repercussions on consumers: İnsights from two complementary qualitative analyses. Journal of Marketing Management. https://doi.org/10.1080/0267257X.2021.1940244
  • Beeden, A., & de Bruin, J. (2010). The Office. Television & New Media, 11(1), 3–19. https://doi.org/10.1177/1527476409338197
  • Blakey, E. (2017). Showrunner as auteur: Bridging the culture/ economy binary in digital Hollywood. Open Cultural Studies, 1(1), 321–332. https://doi.org/10.1515/culture-2017-0029
  • Braun, V., Clarke, V., & Hayfield, N. (2022). ‘A starting point for your journey, not a map’: Nikki Hayfield in conversation with Virginia Braun and Victoria Clarke about thematic analysis. Qualitative Research in Psychology, 19(2), 424–445. https://doi.org/10.1080/14780887.2019.1670765
  • Castelló, E. (2010). Dramatizing proximity: Cultural and social discourses in soap operas from production to reception. European Journal of Cultural Studies, 13(2), 207–223. https://doi.org/10.1177/1367549409352274
  • Chalaby, J. K. (2015). The advent of the transnational TV format trading system: A global commodity chain analysis. Media, Culture & Society, 37(3), 460–478. https://doi.org/10.1177/0163443714567017
  • Chalaby, J. K. (2016). Television and globalization: The tv content global value chain. Journal of Communication, 66(1), 35–59. https://doi.org/10.1111/jcom.12203
  • Chen, S. (2016). Cultural technology: A framework for marketing cultural exports – analysis of Hallyu (the Korean wave). International Marketing Review, 33(1), 25–50. https://doi.org/10.1108/IMR-07-2014-0219/FULL/PDF
  • Craig, C. S., Greene, W. H., & Douglas, S. P. (2005). Cultural matters: Consumer acceptance of U.S. films in foreign markets. Journal of International Marketing, 13(4), 80–103. https://doi.org/10.1509/jimk.2005.13.4.80
  • Esser, A. (2016). The format age. Television’s entertainment revolution. by Jean Chalaby. Popular Communication, 14(4), 243–246. https://doi.org/10.1080/15405702.2016.1179545
  • Esser, A., Bernal-Merino, M., & Smith, I. R. (2016). Media across borders: Localizing TV, film, and video games. In Media Across Borders: Localising TV, Film and Video Games. https://doi.org/10.4324/9781315749983
  • Katsikeas, C. S., Morgan, N. A., Leonidou, L. C., & Hult, G. T. M. (2016). Assessing performance outcomes in marketing. Journal of Marketing, 80(2), 1–20. https://doi.org/10.1509/JM.15.0287
  • Katsikeas, C. S., Samiee, S., & Theodosiou, M. (2006). Strategy fit and performance consequences of international marketing standardization. Strategic Management Journal, 27(9), 867–890. https://doi.org/10.1002/SMJ.549
  • Keinonen, H. (2016). Television format as cultural negotiation: Studying format appropriation through a synthesizing approach. VIEW Journal, 5(9), 60–71. https://doi.org/10.18146/2213-0969.2016.jethc103
  • Keinonen, H. (2017). Television format as cultural technology transfer: importing a production format for daily drama. Media, Culture and Society, 39(7), 995–1010. https://doi.org/10.1177/0163443716682076
  • Kesirli Unur, A. (2015). Discussing Transnational format adaptation in Turkey: A study on Kuzey Güney. International Journal of TV Serial Narratives, 1(2), 139–150.
  • Kim, H., & Jensen, M. (2014). Audience heterogeneity and the effectiveness of market signals: How to overcome liabilities of foreignness in film exports? Https://Doi.Org/10.5465/Amj.2011.0903, 57(5), 1360–1384. https://doi.org/10.5465/AMJ.2011.0903
  • Kuipers, G. (2011). Cultural globalization as the emergence of a transnational cultural field: Transnational television and national media landscapes in four european countries. American Behavioral Scientist 55(5), 541–557. https://doi.org/10.1177/0002764211398078
  • La Pastina, A. C., & Straubhaar, J. D. (2005). Multiple proximities between television genres and audiences: The schism between telenovelas’ global distribution and local consumption. International Communication Gazette, 67(3), 271–288. https://doi.org/10.1177/0016549205052231
  • Lee, F. L. F. (2008). Hollywood movies in East Asia: Examining cultural discount and performance predictability at the box office. Asian Journal of Communication, 18(2), 117–136. https://doi.org/10.1080/01292980802021855
  • Lee, F. L. F. (2009). Cultural discount of cinematic achievement: The academy awards and U.S. movies’ East Asian box office. Journal of Cultural Economics, 33(4), 239–263. https://doi.org/10.1007/S10824-009-9101-7/TABLES/7
  • Lorenzen, M. (2007). Internationalization vs globalization of the film industry. Https://Doi.Org/10.1080/13662710701543650, 14(4), 349–357. https://doi.org/10.1080/13662710701543650
  • Mikos, L., & Perrotta, M. (2012). Traveling style: Aesthetic differences and similarities in national adaptations of yo soy betty, la fea. International Journal of Cultural Studies, 15(1), 81–97. https://doi.org/10.1177/1367877911428116
  • Mirrlees, T. (2013). Global entertainment media: Between cultural imperialism and cultural globalization. Taylor and Francis. https://doi.org/10.4324/9780203122747
  • Moran, A. (1996). Film policy: international, national, and regional perspectives. Routledge.
  • Moran, A. (2009a). New Flows in Global TV. In New Flows in Global TV. Intellect.
  • Moran, A. (2009b). TV formats worldwide: Localising global programs. Intellect.
  • Perdikaki, K. (2017). Film adaptation as translation: An analysis of adaptation shifts in silver linings playbook. Anafora: Časopis Za Znanost o Književnosti, 4(2), 249–264. https://doi.org/10.29162/anafora.V4I2.5
  • Samiee, S., & Chirapanda, S. (2019). International Marketing Strategy in Emerging-Market Exporting Firms. Journal of International Marketing, 27(1), 20–37. https://doi.org/10.1177/1069031X18812731
  • Sasaki, I., Nummela, N., & Ravasi, D. (2021). Managing cultural specificity and cultural embeddedness when internationalizing: Cultural strategies of Japanese craft firms. Journal of International Business Studies, 52(2), 245–281. https://doi.org/10.1057/S41267-020-00330-0/TABLES/12
  • Shirky, C. (2008). Here comes everybody: How change happens when people come together. In British Journal of General Practice. Penguin.
  • Sinha, A., Gu, H., Kim, N., & Emile, R. (2019). Signaling effects and the role of culture: Movies in international auxiliary channels. European Journal of Marketing, 53(10), 2146–2172. https://doi.org/10.1108/EJM-09-2017-0587/FULL/PDF
  • Straubhaar, J. D. (1991). Beyond media imperialism: Asymmetrical interdependence and cultural proximity. Critical Studies in Mass Communication, 8(1), 39–59. https://doi.org/10.1080/15295039109366779
  • Van Keulen, J., & Krijnen, T. (2014). The limitations of localization: A cross-cultural comparative study of Farmer Wants a Wife. International Journal of Cultural Studies, 17(3), 277–292. https://doi.org/10.1177/1367877913496201
  • Villegas-Simón, I., & Soto-Sanfiel, M. T. (2020). Similarities in adaptations of scripted television formats: The global and the local in transnational television culture. Poetics, 101524. https://doi.org/10.1016/j.poetic.2020.101524
  • Walls, W. D., & McKenzie, J. (2012). The changing role of Hollywood in the global movie market. Journal of Media Economics, 25(4), 198–219. https://doi.org/10.1080/08997764.2012.729544
  • Wells-Lassagne, S. (2017). Television and serial adaptation. In Television and Serial Adaptation (First). Routledge.
There are 40 citations in total.

Details

Primary Language English
Subjects Communication Studies, Media Industry Studies, Television Programming, Television Broadcasting
Journal Section Research Articles
Authors

Ridvan Yucel 0000-0001-8976-7213

Banu Karademir Arun 0000-0002-0339-9622

Rıza Eren Bozkurt 0000-0002-5094-9324

Publication Date March 18, 2025
Submission Date October 27, 2024
Acceptance Date January 21, 2025
Published in Issue Year 2025 Issue: 69

Cite

APA Yucel, R., Karademir Arun, B., & Bozkurt, R. E. (2025). Determination of Cultural Adaptation Elements in the International Circulation of Tv Series Formats: The Case of the Good Doctor. İletişim Kuram Ve Araştırma Dergisi(69), 96-111. https://doi.org/10.47998/ikad.1574344