TV drama production studios of Istanbul: From empty sound stages to standing sets

IF 0.9 2区艺术学 0 FILM, RADIO, TELEVISION

Critical Studies in Television Pub Date : 2022-06-28 DOI:10.1177/17496020221110531

Sezen Kayhan

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引用次数: 0

Abstract

This study explores the transformation of production spaces from empty sound stages to standing sets, drawing on the findings from fieldwork involving 14 key players; studio owners and managers, screenwriters and art directors. The sets containing standing decors of hospital rooms, police stations, jails and courtrooms, transformed from abandoned factories, warehouses and administrative buildings in Istanbul, mostly lack proper infrastructure and appropriate security measures. Examining their transformation shows that the demanded and repeated storylines of the Turkish TV series also shape these locations and create a cheap and fast studio system based on supply and demand, putting creativity and security of the crews into question. The research also aims to contribute to the critical debate about the production studies focusing solely on the means of production and excluding the text and the audience, with showing the need for a more comprehensive approach. In order to apprehend the intertwined relationship between production, representation and consumption, this study examines the links between the formation of the production spaces, the content of the TV series and the ratings.

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伊斯坦布尔的电视剧制作工作室:从空荡荡的摄影棚到站立的布景

本研究借鉴了涉及14名关键人物的实地调查结果，探索了制作空间从空声舞台到站立布景的转变；工作室所有者和经理、编剧和艺术总监。由伊斯坦布尔废弃的工厂、仓库和行政大楼改造而成的医院、警察局、监狱和审判室的立式装饰大多缺乏适当的基础设施和适当的安全措施。研究他们的转变表明，土耳其电视剧所要求的和重复的故事情节也塑造了这些地点，并根据供求关系创建了一个廉价快速的工作室系统，这让剧组的创造力和安全性受到了质疑。这项研究还旨在促进关于生产研究的批判性辩论，这些研究只关注生产手段，排除文本和观众，并表明需要一种更全面的方法。为了理解制作、表现和消费之间的交织关系，本研究考察了制作空间的形成、电视剧的内容和收视率之间的联系。

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来源期刊

Critical Studies in Television FILM, RADIO, TELEVISION-

CiteScore

2.10

自引率

30.00%

发文量

期刊介绍： Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.