Türk Televizyon Endüstrisinde Anlatısal Dönüşüm: Muhafazakâr ve Seküler Çatışmasının Yükselişi

Öz

Televizyon, görüntü aktarımını başardığı ilk günden itibaren toplumsal alanda ayrıcalıklı bir yer edinmiş, eğlence ve enformasyonun ana kaynaklarından olmuştur. İnşa ettiği anlatılar nedeniyle toplumsal çatışmaları tetiklediği düşüncesi, zaman zaman eleştirilmesine neden olmuştur. Bu çalışma, son dönem yayıncılık alanında sıkça işlenen muhafazakâr-seküler çatışmasının ekranlarda sunulma stratejilerini ve potansiyel etkilerini incelemek amacıyla gerçekleştirilmiştir. Örneklem, benzer temaları işleyen dizilere göre daha güçlü sosyolojik bağlama sahip olan Bir Başkadır ve Kızıl Goncalar dizilerinden oluşmuş, incelemelerde içerik analizi yöntemi kullanılmıştır. Muhafazakâr-seküler çatışmasının kökenlerini açıklamak için Ralf Dahrendorf’un Marksizm ve Weberyanizmin sınırlarını genişletmeyi amaçlayarak otoriteyi merkeze aldığı çatışma kuramından yararlanılmıştır. Çalışmada Bir Başkadır dizisinin Türkiye’de modern muhafazakâr-seküler çatışmasının yükselişine zemin hazırlayan öncü yapımlardan biri olduğu belirlenmiştir. Konvansiyonel yayıncılıkta ve dijital platform yapımlarında çatışma oluşturma biçimlerinin benzer olduğu tespit edilmiş, iki ideolojinin felsefi kökenlerinden koparılarak uç noktalara taşındığı görülmüştür. Muhafazakâr-seküler kutupları içeren sahnelerde anlatı kodlarının değiştiği, semboller ve metaforlara ağırlık verildiği, yan çatışma unsurlaryla gerilimin artırıldığı saptanmıştır. Ekranlarda inşa edilen ideolojik çatışmaların kamusal alandaki politizasyonu artırdığı ve toplumsal kutuplaşmayı derinleştirdiği sonucuna varılmıştır.

Anahtar Kelimeler

• Televizyon
• Dijital Platform
• Dijital Kültür
• Muhafazakârlık
• Sekülerlik
• Çatışma Teorisi

Narrative Transformation in the Turkish Television Industry: The Rise of Conservative and Secular Conflict

Abstract

Television has held a privileged place in the social sphere since the day it first succeeded in transmitting moving images and has become one of the main sources of entertainment and information. The idea that it triggers social conflicts due to the narratives it constructs has, from time to time, led to criticism. This study was conducted to examine the strategies and potential effects of how the conservative-secular conflict, which has been frequently addressed in recent broadcasting, is presented on screen. The sample consists of the series Bir Başkadır and Kızıl Goncalar, which have a stronger sociological context compared to other series addressing similar themes, and content analysis was used in the examination. To explain the origins of the conservative-secular conflict, Ralf Dahrendorf’s conflict theory, which aims to expand the boundaries of Marxism and Weberianism by placing authority at its center, was employed. The study determined that Bir Başkadır is one of the pioneering productions that laid the groundwork for the rise of the modern conservative-secular conflict in Türkiye. It was identified that the methods of constructing conflict in conventional broadcasting and digital platforms are similar, and that both ideologies are portrayed in extreme forms, detached from their philosophical roots. It was observed that in scenes involving conservative-secular poles, narrative codes change, emphasis is placed on symbols and metaphors, and tension is heightened through side-conflict elements. It was concluded that the ideological conflicts constructed on screen increase politicization in the public sphere and deepen social polarization.

Keywords

• Television
• Streaming Services
• Digital Culture
• Conservatism
• Secularism
• Conflict Theory

Kaynakça

1. Adorno, T. W., & Horkheimer, M. (1997). Dialectic of enlightenment (Vol. 15). Verso.
2. Allen, J., Livingstone, S., & Reiner, R. (1997). The changing generic location of crime in film: A content analysis of film synopses, 1945–1991. Journal of Communication, 47(4), 89–101. https://doi.org/10.1111/j.1460-2466.1997.tb02727.x
3. Aycan, E., & Çalışkan, S. (2021). Bir başkadır dizisinin kadın aktivistleri üzerine bir çalışma. İnönü Üniversitesi Kültür ve Sanat Dergisi, 7(1), 252–258. https://doi.org/10.22252/ijca.934324
4. Aydos, S. S. (n.d.). Türkiye’de politik kutuplaşmanın Kızıl Goncalar dizisinde temsili. Avrasya Uluslararası Araştırmalar Dergisi, 12(41), 434–460. https://doi.org/10.33692/avrasyad.1537816
5. Baloğlu, U. (2019). Yaşam Biçimlerinin televizyon dizilerinde yansıtılması: Bizimkiler örneği. MANAS Sosyal Araştırmalar Dergisi, 8(3), 2875–2897.
6. Başer, E., & Söğütlüler, T. (2023). Değişen izleme eğilimleri çerçevesinde dijital platformlar ve içerik reklamları üzerine bir inceleme. Akdeniz Üniversitesi İletişim Fakültesi Dergisi, 41, 1–26. https://doi.org/10.31123/akil.1303391
7. Bates, T. R. (1975). Gramsci and the theory of hegemony. Journal of the History of Ideas, 36(2), 351–366.
8. BBC. (2023, December 28). RTÜK, Kızıl Goncalar dizisinin yayımlandığı FOX TV’ye ‘toplumun milli ve manevi değerlerine aykırılık’ gerekçesiyle ceza verdi. https://www.bbc.com/turkce/articles/cz451jrypelo

9. Bell, E., & Gray, A. (2007). History on television: Charisma, narrative and knowledge. European Journal of Cultural Studies, 10(1), 113–133. https://doi.org/10.1177/1367549407072973
10. Berens, J. (2014). The role of colour in films: Influencing the audience’s mood. BA (Hons) Film & Moving Image Production Leeds Metropolitan University. http://www.danberens.co.uk/uploads/3/0/0/6/30067935/daniel_berens_dissertation_may2014.pdf
11. Bingöl, U. (2021). ‘Bir Başkadır’ karanlık tarafım. Iğdır Üniversitesi Sosyal Bilimler Dergisi, 28, 54–70.
12. Bordwell, D., Thompson, K., & Smith, J. (2010). Film art: An introduction (Vol. 7). McGraw-Hill New York.
13. Bourdieu, P. (2002). Pierre Bourdieu. Mouvements, 20, 5.
14. Bourdieu, P. (2015). Ayrım: Beğeni yargısının toplumsal eleştirisi. Heretik.
15. Bourdieu, P., & Ilgaz, turhan. (1997). Televizyon üzerine. Yapı Kredi.
16. Bourdieu, P., Tanrıöver, H. U., & Vural, B. (2006). Pratik nedenler: Eylem kuramı üzerine. Hil Yayın.
17. Bourdieu, P., & Wacquant, L. (2013). Symbolic capital and social classes. Journal of Classical Sociology, 13(2), 292–302. https://doi.org/10.1177/1468795X12468736
18. Buckser, A. (2011). Secularization, Religiosity, and the Anthropology of Jewry. Journal of Modern Jewish Studies, 10(2), 205–222. https://doi.org/10.1080/14725886.2011.580979
19. Bufkin, J., & Eschholz, S. (2000). Images of sex and rape: A content analysis of popular film. Violence Against Women, 6(12), 1317–1344. https://doi.org/10.1177/1077801200006012002
20. Bullerjahn, C., & Güldenring, M. (1994). An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology: A Journal of Research in Music Cognition, 13(1–2), 99. https://doi.org/10.1037/h0094100
21. Burke, E. (1986). Reflections on the revolution in France. 1790. Penguin.
22. Campbell, C. (2016). Representation: Stuart Hall and the “politics of signification”. In The Routledge Companion to Media and Race. Taylor & Francis. https://library.oapen.org/handle/20.500.12657/41394
23. Cannell, F. (2010). The anthropology of secularism. Annual Review of Anthropology, 39(2010), 85–100. https://doi.org/10.1146/annurev.anthro.012809.105039
24. Carr, N., & Carr, S. (2023). Sociology as the foundation of leisure studies: A critical analysis. Loisir et Société / Society and Leisure, 46(3), 516–524. https://doi.org/10.1080/07053436.2023.2274185
25. Cazeneuve, J. (1962). Sociology of Information and Radio-Television. Diogenes, 10(39), 119–133.
26. Corts, T. E. (1968). The derivation of ethos. Speech Monographs, 35(2), 201–202. https://doi.org/10.1080/03637756809375583
27. Costa, C., Burke, C., & Murphy, M. (2019). Capturing habitus: Theory, method and reflexivity. International Journal of Research & Method in Education, 42(1), 19–32. https://doi.org/10.1080/1743727X.2017.1420771
28. Dahrendorf, R. (1958a). Out of utopia: Toward a reorientation of sociological analysis. American Journal of Sociology, 64(2), 115–127. https://doi.org/10.1086/222419
29. Dahrendorf, R. (1958b). Toward a theory of social conflict. Journal of Conflict Resolution, 2(2), 170–183. https://doi.org/10.1177/002200275800200204
30. Dahrendorf, R. (1990). The modern social conflict: An essay on the politics of liberty. University of California Press.
31. Dahrendorf, R. (2022). Class and conflict in an industrial society. Routledge. https://doi.org/10.4324/9781003260257
32. Dahrendorf, R., Collins, R., & Further, S. (2006). Seeing further: Normal conflict. In Conflict and Critical Theories (Vol. 1). SAGE Publications, Inc.
33. Dertli, O. (2021). Televizyonda (diziler bağlamında) din adamı imajı (Kertenkele dizisi örneği). İLSAM Akademi Hakemli Dergisi, 1(1), 85–106.
34. Devi Prasad, B. (2008). Content analysis: A method in social science research. Research Methods for Social Work, 173–193.
35. Ekşi Sözlük. (2025). ekşi sözlük. https://eksisozluk.com/basliklar/gundem
36. Garratt, G. R. M., & Mumford, A. H. (1952). The history of television. Proceedings of the IEE - Part IIIA: Television, 99(17), 25–40. https://doi.org/10.1049/pi-3a.1952.0005
37. Giddens, A. (1987). Social theory and modern sociology. Stanford University Press.
38. Gökalp, Y., Elitaş, T., & Elitaş, S. K. (2024). Televizyon dizilerinde dini söylem ve ritüellerin “tarikat” üzerinden inşası: Kızıl Goncalar üzerinden bir içerik analizi. Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (ÇÜİFD), 24(2), 284–306. https://doi.org/10.30627/cuilah.1544824
39. Golding, P. (2000). Forthcoming features: Information and communications technologies and the sociology of the future. Sociology, 34(1), 165–184. https://doi.org/10.1177/S0038038500000110
40. Gramsci, A. (2011). Prison notebooks (Vol. 2). Columbia University Press.
41. Grant, B. K. (2003). Film genre reader III (Vol. 3). University of Texas Press.
42. Grindstaff, L., & Turow, J. (2006). Video cultures: Television sociology in the “New TV” Age. Annual Review of Sociology, 32(1), 103–125. https://doi.org/10.1146/annurev.soc.32.061604.143122
43. Hall, S. (2007). Encoding and decoding in the television discourse. In CCCS selected working papers (pp. 402–414). Routledge.
44. Hall, S. (2020). The work of representation. In The applied theatre reader (pp. 74–76). Routledge.
45. Ignatow, G., & Robinson, L. (2017). Pierre Bourdieu: Theorizing the digital. Information, Communication & Society, 20(7), 950–966. https://doi.org/10.1080/1369118X.2017.1301519
46. Janowitz, M. (1968). Harold D. Lasswell’s contribution to content analysis. The Public Opinion Quarterly, 32(4), 646–653.
47. Kaçar, F. (2021). ‘Bir Başkadır’ dizisinde seküler bireyin temsili. In B. Öztürk & B. Yetkiner (Eds.), Kavram ve kuramlarla Bir Başkadır (ss. 195–227). Nobel Yayınevi.
48. Kaminsky, S. M., & Mahan, J. H. (1985). American television genres (Vol. 828). Wadsworth Publishing Company.
49. Kateb, G. (2009). Locke and the political origins of secularism. Social Research: An International Quarterly, 76(4), 1001–1034.
50. Kaymak, A. (2024). Televizyon dizilerinde muhafazakâr ve seküler ayrımının alımlanması: Kızıl Goncalar örneği. Türkiye Medya Akademisi Dergisi, 8, 25–54. https://doi.org/10.5281/zenodo.13856005
51. Kazaz, A., & Say, B. (2024). Televizyon dizilerinde muhafazakâr ve seküler temsiller: Kızılcık Şerbeti ve Kızıl Goncalar. Idil: Journal of Art & Language, 13(113). https://doi.org/10.7816/idil-13-113-10
52. Kirk, R. (1952). The conservative mind of Newman. The Sewanee Review, 60(4), 659–676.
53. Kirk, R. (1986). Enlivening the conservative mind. The Intercollegiate Review, 21(3), 25–27.
54. Kirk, R. (2024). Ten conservative principles. In Ideals and Ideologies (pp. 209–216). Routledge.
55. Kist, W. (2015). Film and video in the classroom: Back to the future. In Handbook of Research on Teaching Literacy Through the Communicative and Visual Arts, Volume II (pp. 549–556). Routledge.
56. Köse, H. (2023). Bir Başkadır’ın “Erkek Aklı”: İyimser bir öneri. In Evdeki Zürafa “Bir Başka” Tahayyülde Aynılık, Fark ve Memleket Nostaljisi (pp. 120–141). Ithaki Yayınları.
57. Krippendorff, K. (2018). Content analysis: An introduction to its methodology. Sage publications.
58. Kühne, O., Weber, F., & Berr, K. (2019). The productive potential and limits of landscape conflicts in light of Ralf Dahrendorf’s conflict theory. Società Mutamento Politica, 10(19). https://www.torrossa.com/gs/resourceProxy?an=4527391&publisher=FF3888#page=78
59. Lanman, J., & Lanman, J. (2010). A secular mind: Towards a cognitive anthropology of Atheism [PhD Thesis, Oxford University, UK]. https://ora.ox.ac.uk/objects/uuid:99ae030b-5f3a-4863-abf2-2f63eb8b4150
60. Lasswell, H. D. (1962). The public interest: Proposing principles of content and procedure. NOMOS: American Society for Political and Legal Philosophy, 5, 54.
61. Lebner, A. B. (2015). The anthropology of secularity beyond secularism. Religion and Society, 6(1), 62–74. https://doi.org/10.3167/arrs.2015.060105
62. Leonard, R. (2009). The mystical gaze of the Cinema: The films of Peter Weir. Academic Monographs.
63. Letak, A. M. (2022). The Promise of sociology of television: Investigating the Potential of phenomenological approaches. Sociological Forum, 37(2), 581–602. https://doi.org/10.1111/socf.12808
64. Locke, J. (1764). The Reasonableness of Christianity: As delivered in the scriptures. Awnsham and John Churchil.
65. Locke, J. (2003). Liberating Faith religious voices for justice, peace, and ecological wisdom. A Letter Concerning Toleration. Rowman & Littlefield.
66. Locke, J. (2012). A letter concerning toleration and other writings. Liberty Fund. https://muse.jhu.edu/pub/226/monograph/book/18228
67. Locke, J. (2016). Second treatise of government and a letter concerning toleration. Oxford University Press.
68. Macé, É. (2001). What is a Sociology of television? Réseaux, 105(1), 199–242.
69. Magoun, A. B. (2007). Television: The life story of a technology. Bloomsbury Publishing USA.
70. Maguire, B., & Weatherby, G. A. (1998). The secularization of religion and television commercials. Sociology of Religion, 59(2), 171–178. https://doi.org/10.2307/3712079
71. Marlière, P. (1998). The Rules of the Journalistic Field: Pierre Bourdieu’s Contribution to the Sociology of the Media. European Journal of Communication, 13(2), 219–234. https://doi.org/10.1177/0267323198013002004
72. Menekşe, Ö. (2005). Türk Sinemasında din ve din adamı imajı. Dinî Yayınlar Kongresi, 45–66.
73. Mikos, L. (2014). Analysis of film. In The SAGE handbook of qualitative data analysis (pp. 409–423). SAGE Publications, Inc.
74. Mills, C. W. (1959). The promise of sociology. In The Promise of Sociology (pp. 1–5).
75. Mittell, J. (2006). Narrative complexity in contemporary American television. The Velvet Light Trap, 58(1), 29–40. https://doi.org/10.1353/vlt.2006.0032
76. Monaco, J. (2000). How to read a film: The world of movies, media, and multimedia: language, history, theory. Oxford University Press.
77. Morley, D. (2003). Television, audiences and cultural studies. Routledge.
78. Morley, D. (2012). Television, technology, and culture: A Contextualist approach. The Communication Review, 15(2), 79–105. https://doi.org/10.1080/10714421.2012.674459
79. Netflix. (2024). Netflix. https://www.netflix.com/tr/title/81106900
80. O’Brien, C. C. (1993). A thematic biography of Edmund Burke. In Biography and Autobiography: Essays on Irish and Canadian History and Literature (p. 27). McGill-Queen’s Press.
81. Oğuz, G. Y. (2005). TV Dizileri ve kültürel iletilerin yayılma süreci Türk televizyon tarihinde bir fenomen: Bizimkiler dizisi. Kurgu Dergisi, 21(1), 162–175.
82. Okutan, B. B. (2024). Medyanın Fotoğraf göstergeleri üzerinden başörtülü figürleri okuma denemesi. Toplum Bilimleri Dergisi, 16, 8–29.
83. Ömür, A., & Sevimli, Ö. (Directors). (2024). Kızıl Goncalar [Broadcast]. https://www.nowtv.com.tr/Kizil-Goncalar/izle
84. Oya, B. (Director). (2020). Ethos [Broadcast]. https://www.netflix.com/tr/title/81106900
85. Özçağlayan, M. (2000). Türkiye’de Televizyon yayinciliğinin gelişimi. Selçuk İletişim, 1(2), 41–52.
86. Özer, M., & Gül, D. (2021). gündelik hayat ekseninde “Bir Başkadır’’ Dizisinin eleştirel realist bir bakış açısı ile değerlendirilmesi. Universal Journal of History and Culture, 3(2), 124–162. https://doi.org/10.52613/ujhc.920556
87. Parsons, T. (2017). The present status of “structural-functional” theory in sociology. In The idea of social structure (pp. 67–84). Routledge.
88. Phillips, G. (2011). Introduction to secularism. London: National Secular Society. https://www.secularism.org.uk/uploads/an-introduction-to-secularism-16.pdf
89. Pösteki, N. (2012). Sinema salonlarının dönüşümünde bellek ve mekan ilişkisi. 2nd Communication and Media Studies in Progress of Social and Cultural Interaction Symposium, 1136.
90. Pramono, M. F., & Sunarya, B. (2023). The roots of modern political secularism and its critique. Kanz Philosophia: A Journal for Islamic Philosophy and Mysticism, 9(2), 293–310. https://doi.org/10.20871/kpjipm.v9i2.280
91. Quadrio, P. A. (2014). Locke, Secularism and the justice of the secular solution: Towards a Self-reflective transcending of secular-self understanding. In M. Sharpe & D. Nickelson (Eds.), Secularisations and Their Debates (pp. 39–57). Springer Netherlands. https://doi.org/10.1007/978-94-007-7116-1_3
92. Regnery, H. (1977). Russell Kirk and the making of the conservative mind. Modern Age Modern Age Foundation for Foreign Affairs, 21(4), 338.
93. Roberts, K. (2015). Sociology of leisure. ” International Encyclopedia of the Social & Behavioral Sciences, 1–13. https://doi.org/10.1016/B978-0-08-097086-8.32144-4.
94. RTÜK. (2018). Televizyon izleme eğilimleri araştırması 2018. Radyo ve Televizyon Üst Kurulu. https://www.rtuk.gov.tr/Media/FM/Birimler/Kamuoyu/televizyonizlemeegilimleriarastirmasi2018.pdf
95. Sajó, A. (2008). Preliminaries to a concept of constitutional secularism. International Journal of Constitutional Law, Oxford Academic, 6(3–4), 605–629. https://doi.org/10.1093/icon/mon018
96. Sassen, S. (2002). Towards a Sociology of Information Technology. Current Sociology, 50(3), 365–388. https://doi.org/10.1177/0011392102050003005
97. Sattler, W. M. (1947). Conceptions of ethos in ancient rhetoric*. Speech Monographs, 14(1–2), 55–65. https://doi.org/10.1080/03637754709374925
98. Scott, J. (2007). Giddens and cultural analysis. Cultural Theory: Classical and Contemporary Positions, 83–107.
99. Silverstone, R. (2005). The sociology of mediation and communication. The SAGE Handbook of Sociology, 188–207. https://doi.org/10.4135/9781848608115.n11
100. Söğütlüler, E. N. Ö., & Söğütlüler, T. (2025). Richard Sennett & Jonathan Cobb: Sınıfın gizli yaraları (Kitap İncelemesi). Uluslararası Sosyal Bilimlerde Mükemmellik Arayışı Dergisi, 7, 52–57.
101. Söğütlüler, T. (2023). Z Kuşağının Netflix yerel içeriklerini alımlama biçimleri. In Dijital Dünyada Reklamcılık ve Sinema (1st ed., Vol. 1). Eğitim Yayınevi.
102. Söğütlüler, T. (2024). A netnographic reception analysis of main news bulletins. Yeni Medya, 17, 68–88. https://doi.org/10.55609/yenimedya.1515569
103. Söğütlüler, T., & Aday, O. (2023). From the movie screen to the mobile screen: The Effects of changing screen usage on the audience. Medya ve Kültürel Çalışmalar Dergisi, 5(2), 44–61. https://doi.org/10.55055/mekcad.1364537
104. Stebbins, R. A. (2018). The sociology of leisure: An estranged child of mainstream sociology. International Journal of the Sociology of Leisure, 1, 43–53. https://doi.org/10.1007/s41978-017-0003-5
105. Stephens, M. (1991). Television transforms the news. Communication in History, Technology, Culture, Society, 237–243. https://doi.org/10.4324/9781315664538
106. Strasser, H., & Lentz, A. (1989). Social Theory and Modern Sociology. JSTOR.
107. Taylor, C. (2007). A secular age. Harvard UP. https://ccnymadmen.wordpress.com/wp-content/uploads/2016/08/charles-taylor-a-secular-age-chapter-13-the-age-of-authenticity.pdf
108. Taylor, C. (2010). The meaning of secularism. Religion in the Public Space, Hedgehog Review., 3, 23–24.
109. Temel, M. (2019). Medya Ve Din Tartışmaları Sempozyumu 2-3 Nisan 2015, İstanbul Ticaret Üniversitesi. 2(1), 171–180.
110. Thompson, J. (1993). Fiction, crime, and empire: Clues to modernity and postmodernism. University of Illinois Press.
111. TIAK. (2020). Televizyon izleme araştırmaları anonim şirketi tv izleme ölçümleri [Günlük Rapor]. https://tiak.com.tr/upload/files/2020yillik.pdf
112. TIAK. (2024). Televizyon izleme araştırmaları anonim şirketi tv izleme ölçümleri [Günlük Rapor]. https://tiak.com.tr/tablolar
113. Tittenbrun, J. (2013). Ralph Dahrendorf’s conflict theory of social differentiation and elite theory. Innovative Issues and Approaches in Social Sciences, 6(3), 117–140.
114. Tomlinson, J. (1994). A phenomenology of globalization? Giddens on global modernity. European Journal of Communication, 9(2), 149–172. https://doi.org/10.1177/0267323194009002003
115. Turan, İ. (2007). Televizyondaki dini içerikli programların yetişkinler üzerindeki etkileri. Ondokuz Mayıs Üniversitesi İlahiyat Fakültesi Dergisi, 23(23), Article 23. https://doi.org/10.17120/omuifd.79284
116. Turner, B. S. (2010). Ralf Dahrendorf on citizenship and life chances: Thinking Citizenship Series. Citizenship Studies, 14(2), 237–244. https://doi.org/10.1080/13621021003594973
117. Uluç, M., & Balcı, B. (2024). Gerçekçilik olgusu ekseninde taşra mekânının yeniden inşası “Koza” film örneklemi. Türkiye Film Araştırmaları Dergisi, 4(2), Article 2. https://doi.org/10.59280/film.1558950
118. Umanailo, M., Basrun, C., Pratiwi, R. D., & Indah, F. P. S. (2019). Negative impact of ındustry on society using ralph dahrendorf’s conflict theory. Proceedings of the International Conference on Industrial Engineering and Operations Management, 673–676. http://www.ieomsociety.org/gcc2019/papers/327.pdf
119. Van den Ende, J., Ravesteijn, W., & De Wit, D. (1997). Shaping the early development of television. IEEE Technology and Society Magazine, 16(4), 13–26. https://doi.org/10.1109/44.642518
120. Wacquant, L. (1998). Pierre Bourdieu. In R. Stones (Ed.), Key Sociological Thinkers (pp. 215–229). Macmillan Education UK. https://doi.org/10.1007/978-1-349-26616-6_17
121. Wasko, J. (2009). A companion to television (Vol. 31). John Wiley & Sons.
122. Weber, R. P. (2004). Content analysis. Social Research Methods: A Reader, 117–124.
123. Weingart, P. (1969). Beyond Parsons? A critique of Ralf Dahrendorf’s conflict theory. Social Forces, 48(2), 151–165.
124. White, M. (1989). Television: A narrative — A history. Cultural Studies, 3(3), 282–300. https://doi.org/10.1080/09502388900490201
125. X. (2025, June 13). X (formerly Twitter). https://x.com/home?lang=tr
126. Yengin, H. (1994). Ekranın büyüsü: Batıda değişen televizyon yayıncılığının boyutları ve Türkiye’de özel televizyonlar. Der Yayınları.
127. Zala, M. (2019). Secularism in political philosophy. Oxford Research Encyclopedia of Politics. https://doi.org/10.1093/acrefore/9780190228637.013.1388