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Roles of Women and Men Produced on TV Series: The Sample of Ece (The Turkish Soap Opera Series)

Year 2019, Volume: 14 Issue: 20, 905 - 928, 31.12.2019
https://doi.org/10.26466/opus.576252

Abstract

This study aims to analyse
the daily experiences of a woman who is strange to the existing social gender
perceptions, with an ethnomethodologically point of view instead of looking for
her role which needy and powerless against a man. A total of 26 chapters of the
series were analysed by discourse analysis over a period of 6-8 months. As a
result, it was observed that the men and women presented in the television
series internalized the social roles in their daily lives and presented the
behaviour patterns that were appropriate to these roles. Besides, the
stereotyped ideas that existed in society for women remained valid in this
study. Because of the reason for the existence of the strong woman presented in
Ece, as different from other TV series, is still she has a male mind. In
addition, the other result of the study is the impossibility of understanding
how produced images are the male and female roles in society unless individuals
undergo a serious transformation, such as gender transition.

References

  • Abdullah, M. (2011). Social constructing of identity and transfer of traditional woman identity. Karatekin University Journal of the Institute of Social Sciences, 2(1), 74-92
  • Ahmed, A. (2012). Women and soap-operas: popularity, portrayal and perception. International Journal of Scientific and Research Publications, 2(6), 1-6.
  • Ateşalp, S. T (2016). Qualified television: The Perspective of media professionals in Turkish television series. Journal of Communication, 25, 9-37.
  • Beauvoir, S (2010). The second sex. (C. Borde and S. Malovany–Chevallier, trans.) First Vintage Books Edition.
  • Bingöl, O (2014). Cases of gender and femininity in Turkey. KM Social and Economic Research Journal 16 (special edition I): 108-114.
  • Blackstone, A (2003). Gender roles and society. In (ed. J. R. Miller, R. M. Lerner, and L. B. Schiamberg. S. Barbara), Human ecology: an encyclopedia of children, families, communities, and environments, CA: ABC-CLIO.
  • Eagly, A. ve Wood W (2012). Social role theory. In Handbook of theories of social psychology, edited by: Paul A M Van Lange, Arie W Kruglanski, E. Tory Higgins, January DOI: 10.4135/9781446249222.n49.
  • Egri, L. (1946). The art of dramatic writing: its basis in the creative interpretation of human motives. Simon & Schuster.
  • Erdoğan, İ. and Korkmaz, A. (2010). The other theory: a historical and critical evaluation of mass communication theory and studies. (3rd Edition), Erk Publications.
  • Ersoy, E. (2009). Female and male ıdentity in gender culture:The case of Malatya. Fırat University Journal of Social Science, 19 (2), 209-230.
  • Geçer, E. (2015). A cultural and ıdeological evaluation on Turkish tv series: Made in Turkey. Mütefekkir Journal of Faculty of Islamic Sciences, 2(3), 13-23.
  • Gerbner, G. and Gross, L. (1976). Living with television: The violence profile. Journal of Communication, Spring, Volume 26:2, 173-199.
  • Hammer, R. and Kellner, D. (2009). Third-wave feminism, sexualities, and the adventures of the posts. In (ed. B.Mousli) Women, feminism, and femininity in the 21st century: american and french perspectives, New York:Roustang-Stoller EA Palgrave Macmillan,.
  • İnceoğlu, İ., Akçalı, E. (2018). Gender Equality Survey in Television Series, TÜSİAD Gender Equality Project in Television Series, March 2018 Publication Number: TÜSİAD-T / 2018,03 - 591, İstanbul.
  • Ikizler, A. S. (2007). Gender role representations in Turkish televısıon programs. Thesis of Degree of Bachelor, St. Mary's College, Arts in Psychology, Maryland.
  • Livingstone, S. M (1988). Why People watch soap opera: An analysis of the explanations of British viewers. European Journal of Communication, 3(1), 55–80.
  • Madni, A. R., Hassan, S. ve Amin S. A. F. (2014). Gender interaction pattern on private television channels: Turkish & Pakistani dramas and viewers perception. Asian Journal of Empirical Research, 4(3), 172-179.
  • Matthes, J., Prieler M. and Adam, K. (2016). Gender-role portrayals in television advertising across the globe. Sex Roles, 75: 314. https://doi.org/10.1007/s11199-016-0617-y.
  • Mosharafa, E. (2015). All you need to know about: the cultivation theory. Global Journal of Human-Social Science: A Arts & Humanities – Psychology, 15(8), 23-37.
  • Oláh, L. Sz., Richter, R. and Kotowska, I. E. (2014). The new roles of men and women and implications for families and societies: State of the art report. Families and Societies Working Paper Series 11.
  • Ozgun, A., Yurdakul, D., and Atik D (2017). How do soap operas affect the poor? Experiences of Turkish women. Markets, Globalization & Development Review, Vol. 2: No. 2, Article 2.DOI: 10.23860/MGDR-2017-02-02-02.
  • Saito, S. (2007). Television and the cultivation of gender-role attitudes in japan: does television contribute to the maintenance of the status quo? Journal of Communication, 57, 511–531.
  • Sancar, S. (2011). Masculinity: Impossible ruling. İstanbul:Metis Publications.
  • Sancar, S (2014). Gender of Turkish modernization. Istanbul:Iletişim Publications.
  • Sankir, H. (2010). The effects of gender roles on the process of formation of female artists. Hacettepe University E-Journal of Sociological Research, Cilt(Sayı), 1-29.
  • Scott, A. and Marie, I. (2011). The roles of women in television situation comedies: A pilot study. A Thesis Presented to the Faculty in Communication and Leadership Studies School of Professional Studies, Gonzaga University.
  • Şenol, D. and Erdem, S. (2016). Women in the Turkish World social life, knowledge and politics on the silk road. Rise of the International Silk Road and Turkish World Symposium Proceedings Book, V:2, 164-184, Ankara.
  • Sinay, A (2017). The fall of masculinity having lost historical roles in the context of gender roles: The emergence of new masculinity from ashes. KADEM Journal of Women's Studies, 3(2), 224-241.
  • Smith S., Cook C. A (2008). Gender stereotypes: An analysis of popular films and TV. The Geena Davis Institute on Gender in Media Conference, p.12-23.
  • Taşkiran, N. Ö. (2010). Female characters in television series: Old and new version of Aşk-I Memnu. 3. Women as an International Science Category: Women's Symposium on Literature, Language, Culture and Art Studies, 28-30 April 2010, Selçuk University, Konya.
  • Thaler R., and Sunstein, C. (2017). Nudge, (tra. E. Günsel), İstanbul:Pegasus Publications.
  • Uçan, G (2016). The other face of gender: male, In (ed. D. Şaşman-Kaylı, F. Şahin), Gender status of social policy, Ankara: Nika Publication

Dizilerde Üretilen Kadın ve Erkek Rolleri: Ece Dizisi Örneği

Year 2019, Volume: 14 Issue: 20, 905 - 928, 31.12.2019
https://doi.org/10.26466/opus.576252

Abstract

Bu çalışma, mevcut toplumsal cinsiyet algılarına
yabancı olan bir kadının gündelik yaşamındaki deneyimlerini etnometodolojik bir
bakışla analiz etmeyi amaçlar. Ece dizisinin toplam 26 bölümü 6-8 ay gibi bir
sürede söylem analizi üzerinden incelenmiş, sergilenen kadın ve erkek
rollerinin arkasında yatan toplumsal algılar ve önyargılar açığa çıkarılmıştır.
Bu çalışmanın sonucunda televizyon dizisinde sunulan kadın ve erkek rollerinin,
günlük hayatlarındaki sosyal rolleri içselleştirdikleri ve bu rollere uygun
davranış kalıplarını sundukları görülmüştür. Ayrıca kadınlar için toplumda var
olan klişeleşmiş fikirler bu çalışmada da geçerliliğini korumuştur. Ece
dizisinde sunulan güçlü kadın imgesi, diğer dizilerden farklı olarak bir erkeğe
karşı güçsüz, muhtaç ve savunmasız bir şekilde sunulmamaktadır. Bunun sebebi
dizideki güçlü kadın imgesini sahneleyen kadının, senaryo gereği, halen bir
erkek zihnine sahip olmasıdır. Çalışmanın bir diğer sonucu ise bireylerin
cinsiyet değişimi gibi ciddi bir dönüşüm geçirmediği sürece, toplumdaki erkek
ve kadın rollerinin üretilen imgeler olduğunu anlamalarının imkânsızlığında
yatmaktadır. Bir erkeğin, kadının günlük yaşamında maruz kaldığı toplumsal
önyargıları anlayabilmesi için kadın bedeninde yaşaması gerekmiştir.

References

  • Abdullah, M. (2011). Social constructing of identity and transfer of traditional woman identity. Karatekin University Journal of the Institute of Social Sciences, 2(1), 74-92
  • Ahmed, A. (2012). Women and soap-operas: popularity, portrayal and perception. International Journal of Scientific and Research Publications, 2(6), 1-6.
  • Ateşalp, S. T (2016). Qualified television: The Perspective of media professionals in Turkish television series. Journal of Communication, 25, 9-37.
  • Beauvoir, S (2010). The second sex. (C. Borde and S. Malovany–Chevallier, trans.) First Vintage Books Edition.
  • Bingöl, O (2014). Cases of gender and femininity in Turkey. KM Social and Economic Research Journal 16 (special edition I): 108-114.
  • Blackstone, A (2003). Gender roles and society. In (ed. J. R. Miller, R. M. Lerner, and L. B. Schiamberg. S. Barbara), Human ecology: an encyclopedia of children, families, communities, and environments, CA: ABC-CLIO.
  • Eagly, A. ve Wood W (2012). Social role theory. In Handbook of theories of social psychology, edited by: Paul A M Van Lange, Arie W Kruglanski, E. Tory Higgins, January DOI: 10.4135/9781446249222.n49.
  • Egri, L. (1946). The art of dramatic writing: its basis in the creative interpretation of human motives. Simon & Schuster.
  • Erdoğan, İ. and Korkmaz, A. (2010). The other theory: a historical and critical evaluation of mass communication theory and studies. (3rd Edition), Erk Publications.
  • Ersoy, E. (2009). Female and male ıdentity in gender culture:The case of Malatya. Fırat University Journal of Social Science, 19 (2), 209-230.
  • Geçer, E. (2015). A cultural and ıdeological evaluation on Turkish tv series: Made in Turkey. Mütefekkir Journal of Faculty of Islamic Sciences, 2(3), 13-23.
  • Gerbner, G. and Gross, L. (1976). Living with television: The violence profile. Journal of Communication, Spring, Volume 26:2, 173-199.
  • Hammer, R. and Kellner, D. (2009). Third-wave feminism, sexualities, and the adventures of the posts. In (ed. B.Mousli) Women, feminism, and femininity in the 21st century: american and french perspectives, New York:Roustang-Stoller EA Palgrave Macmillan,.
  • İnceoğlu, İ., Akçalı, E. (2018). Gender Equality Survey in Television Series, TÜSİAD Gender Equality Project in Television Series, March 2018 Publication Number: TÜSİAD-T / 2018,03 - 591, İstanbul.
  • Ikizler, A. S. (2007). Gender role representations in Turkish televısıon programs. Thesis of Degree of Bachelor, St. Mary's College, Arts in Psychology, Maryland.
  • Livingstone, S. M (1988). Why People watch soap opera: An analysis of the explanations of British viewers. European Journal of Communication, 3(1), 55–80.
  • Madni, A. R., Hassan, S. ve Amin S. A. F. (2014). Gender interaction pattern on private television channels: Turkish & Pakistani dramas and viewers perception. Asian Journal of Empirical Research, 4(3), 172-179.
  • Matthes, J., Prieler M. and Adam, K. (2016). Gender-role portrayals in television advertising across the globe. Sex Roles, 75: 314. https://doi.org/10.1007/s11199-016-0617-y.
  • Mosharafa, E. (2015). All you need to know about: the cultivation theory. Global Journal of Human-Social Science: A Arts & Humanities – Psychology, 15(8), 23-37.
  • Oláh, L. Sz., Richter, R. and Kotowska, I. E. (2014). The new roles of men and women and implications for families and societies: State of the art report. Families and Societies Working Paper Series 11.
  • Ozgun, A., Yurdakul, D., and Atik D (2017). How do soap operas affect the poor? Experiences of Turkish women. Markets, Globalization & Development Review, Vol. 2: No. 2, Article 2.DOI: 10.23860/MGDR-2017-02-02-02.
  • Saito, S. (2007). Television and the cultivation of gender-role attitudes in japan: does television contribute to the maintenance of the status quo? Journal of Communication, 57, 511–531.
  • Sancar, S. (2011). Masculinity: Impossible ruling. İstanbul:Metis Publications.
  • Sancar, S (2014). Gender of Turkish modernization. Istanbul:Iletişim Publications.
  • Sankir, H. (2010). The effects of gender roles on the process of formation of female artists. Hacettepe University E-Journal of Sociological Research, Cilt(Sayı), 1-29.
  • Scott, A. and Marie, I. (2011). The roles of women in television situation comedies: A pilot study. A Thesis Presented to the Faculty in Communication and Leadership Studies School of Professional Studies, Gonzaga University.
  • Şenol, D. and Erdem, S. (2016). Women in the Turkish World social life, knowledge and politics on the silk road. Rise of the International Silk Road and Turkish World Symposium Proceedings Book, V:2, 164-184, Ankara.
  • Sinay, A (2017). The fall of masculinity having lost historical roles in the context of gender roles: The emergence of new masculinity from ashes. KADEM Journal of Women's Studies, 3(2), 224-241.
  • Smith S., Cook C. A (2008). Gender stereotypes: An analysis of popular films and TV. The Geena Davis Institute on Gender in Media Conference, p.12-23.
  • Taşkiran, N. Ö. (2010). Female characters in television series: Old and new version of Aşk-I Memnu. 3. Women as an International Science Category: Women's Symposium on Literature, Language, Culture and Art Studies, 28-30 April 2010, Selçuk University, Konya.
  • Thaler R., and Sunstein, C. (2017). Nudge, (tra. E. Günsel), İstanbul:Pegasus Publications.
  • Uçan, G (2016). The other face of gender: male, In (ed. D. Şaşman-Kaylı, F. Şahin), Gender status of social policy, Ankara: Nika Publication
There are 32 citations in total.

Details

Primary Language English
Subjects Sociology
Journal Section Articles
Authors

Nesrin Canpolat 0000-0001-5954-6735

Nuriye Çelik 0000-0001-6368-1956

Publication Date December 31, 2019
Acceptance Date November 13, 2019
Published in Issue Year 2019 Volume: 14 Issue: 20

Cite

APA Canpolat, N., & Çelik, N. (2019). Roles of Women and Men Produced on TV Series: The Sample of Ece (The Turkish Soap Opera Series). OPUS International Journal of Society Researches, 14(20), 905-928. https://doi.org/10.26466/opus.576252