Türk Televizyon Endüstrisinde Anlatısal Dönüşüm: Muhafazakâr ve Seküler Çatışmasının Yükselişi

Yıl 2025, Cilt: 8 Sayı: 1, 85 - 121, 30.06.2025

Türker Söğütlüler

https://doi.org/10.47951/mediad.1621170

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

Öz

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.

Anahtar Kelimeler

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

Kaynakça

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