Gösterişçi Tüketim Perspektifinden Televizyon Programları; Kadınlar Üzerine Bir Araştırma

H. Ilgin, M. Kardaş
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Abstract

The roles of the concepts of "bride" and "groom" of marriage, which make up the basic building block and enable society to exist, are changing day by day through popular culture and media in a globalizing and digitalizing world. The media, which is communicated with the mass media, realizes this with images and symbols and directs the meaning, duties and perception of these two concepts. Television, which is the most important of these tools, has become an indispensable part of our daily life since its invention and is still classified as a tool that still maintains its importance in the changing, developing and innovative media field. . This tool changes the perception of the "bride" in the society in the direction of "skilled bride, competent bride", and imposes the opinion that social status will be achieved by owning expensive luxury products by emphasizing the external appearance, through "daytime TV women's programs". These programs, in which the practices of conspicuous consumption, which are a part of popular culture, are exhibited, target female audiences of domestic women, who spend most of their time at home, and by creating program contents that have been planned before, they have also affected the way of application of traditional customs and traditions. Bride candidates competing in the "Gelin Evi (Bride's House)" program, which was broadcast between 2015 and 2019 and decided to continue broadcasting again in 2022, created a competitive environment among them, also creating a competitive environment for their homes, their own bridal dowry, clothing, jewelry, food items and arrangements, wedding, and miscellaneous items. It is a program that selects the most assertive bride by scoring the ceremonies and the bridal belongings mentioned in the previous sentence within the scope of the competition. From this point of view, the aim of this study was to reveal the map of this program on the society within the framework of conspicuous consumption policies, and in-depth structured interviews were conducted with 20 women who were the audience of the program. At this point, it has been understood that the program has changed the perception of the bride in the society and created individuals who argue that the bride, who has flashy and exaggerated luxury consumption products, is one step ahead.
在全球化和数字化的世界中,“新娘”和“新郎”这两个构成社会存在的基本组成部分的婚姻概念的角色正在通过大众文化和媒体一天天发生变化。与大众传播媒介沟通的媒介通过形象和符号来实现这一点,并指导这两个概念的意义、职责和感知。电视是这些工具中最重要的一种,自发明以来,它已经成为我们日常生活中不可或缺的一部分,并且在不断变化,发展和创新的媒体领域中仍然被归类为仍然保持其重要性的工具。这个工具改变了社会上对“新娘”的认知,使其朝着“有技术的新娘,有能力的新娘”的方向发展,并通过“日间电视女性节目”,通过强调外表来灌输拥有昂贵奢侈品就能获得社会地位的观念。这些节目将炫耀性消费的做法作为大众文化的一部分进行展示,针对的是大部分时间呆在家里的家庭女性观众,通过创造之前策划好的节目内容,也影响了传统习俗和传统的运用方式。在2015年至2019年播出,并决定在2022年继续播出的“格林Evi(新娘的家)”节目中,新娘候选人之间的竞争创造了一个竞争环境,也为他们的家庭,他们自己的新娘嫁妆,服装,珠宝,食品和安排,婚礼和杂项物品创造了竞争环境。这是一个在比赛范围内,通过对仪式和前一句提到的新娘物品打分,选出最自信的新娘的节目。从这个角度来看,本研究的目的是揭示该节目在炫耀性消费政策框架下的社会地图,并对20名女性观众进行了深入的结构化访谈。至此,可以理解的是,该节目改变了社会对新娘的看法,并产生了主张拥有华丽夸张的奢侈品消费的新娘领先一步的人。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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