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Copyright of Abant Journal of Cultural Studies is the property of Abant Journal of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: Developments in communication and information network technologies have an important place and time in the daily lives of all individuals, including children. Exposure to screen at an early age and viewing duration are significant issues in children's development and wellbeing. This study aims to gain insight about the screen habits of 0-12 year old children and to determine their screen-related health and behavioral features. Material and Methods: This research, designed as a cross-sectional and descriptive, was carried out between 01.01.2023 and 30.04.2024 within the scope of the social responsibility project carried out by medical students. A structured questionnaire was prepared by conducting a literature review. The data were analyzed through a statistical package program, and the details were presented in the text. Results: A total of 685 parents participated in the study. The study group consisted of children with a median age of 15 months. When looking at the screen habits of the children, it was seen that 73.6% (n=504) of the participants’ first exposure to screens was before the age of 2 and 63.5% (n=435) had a daily viewing time more than 120 minutes. It was also found that parents' exposure to screens was intense. Although there was no significant difference in developmental stages, variables such as obesity, body aches, and use of glasses were seen to be more common in those who were in long screen viewing groups. Conclusion: In this study, it was observed that the age of children's early exposure to screens and the length of viewing time gradually increased over time. It is noteworthy that variables such as families' perception of the screen as a developmental and educational tool have improved over time. The increase in technological opportunities and accessibility reveals that all professional groups related to children need to renew themselves in counseling families in this dynamic process. [ABSTRACT FROM AUTHOR]

20. ve 21. yüzyılın en önemli sosyologlarından biri olan Zygmunt Bauman akışkan modern çağa özgü çeşitli toplum biçimlerinden bahsetmektedir. Düşünür, kitle iletişim araçlarının gerçekliği değiştirmediğini tam tersini temsil ettiğini iddia etmektedir. Ona göre mahremiyet, gizlilik, sır gibi özel alana ilişkin durumlar akışkan modern dünyada önemsizleştirilmiş ve bu durumların itiraf edilmesi özgürlük şekliyle gösterilmiştir. Bu çalışmada Bauman’ın akışkan modern çağa özgü kavramsallaştırdığı toplum biçimlerinden biri olan itiraf toplumunun kitle iletişim araçlarının en önemlilerinden biri olan televizyonda ne şekilde gösterildiği ortaya konulmaya çalışılmıştır. Yapılan araştırmada önce literatür taramasıyla Bauman’ın itiraf toplumuna özgü düşünceleri birincil kaynaklara müracaat edilerek ortaya çıkartılmış, daha sonra ise içerik analizi tekniğiyle Bauman’ın itiraf toplumuna özgü söylemleri somut ve anlaşılır hale getirilmeye çalışılmıştır. Bu doğrultuda Türkiye’de yayınlanan gündüz kuşağı programları incelenmiş ve örnek olay olarak “Esra Erol’da” programı seçilmiştir. Bu programın seçilme nedeni, ilgili programın itiraf toplumu söyleminin ahlaki değerler ve toplumsal kıymet boyutlarını aşan içerikler sunmasıdır. 11 günlük yayın içeriği itiraf toplumu çerçevesinde analiz edilen programda, insanların normal yaşantılarında yakın çevrelerine bile anlatmaktan çekinebileceği konuların kamusal hale getirildiği ve söz konusu kamusallığa neden olan bu dilin normalleştiği sonucuna ulaşılmıştır.

This article examines the function of news media on Alevi television channels. The increased visibility of faith-based identity movements in the public sphere during the 1990s led to the study of these communities in media research. This study contributes to these discussions by focusing on news media, an area not yet extensively examined concerning faith communities. The research is based on an 18-month field study involving participant observation and in-depth interviews, focusing on the news production processes of Cem TV, Yol TV, and TV 10, during 2014 and 2015. The study argues that news media serves a dual function for faith communities like the Alevis, enabling them to address both a general audience and their own community simultaneously. Alevi broadcasters create news bulletins that appeal to a general audience while also including news relevant to Alevis. They achieve this in two ways. The first is by utilizing television technology to include an “Alevi news” segment at the beginning of the news, covering developments particularly relevant to Alevis. The second way is by maintaining a more “neutral” language in the news bulletins while expressing opinions on developments concerning Alevis in news and discussion programs.

Copyright of Turkish Review of Communication Studies / Türkiye İletişim Araştırmaları Dergisi is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Global Media Journal: Turkish Edition is the property of Global Media Journal, Turkish Edition and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Türkiye’de televizyon yayıncılığı Türkiye Radyo ve Televizyon Kurumunun (TRT) 31 Ocak 1968 tarihinde Ankara’da gerçekleştirdiği deneme yayınıyla resmen başladı. Televizyon yaygınlaştıkça kitleler üzerindeki etkisi de fark edildi. 1971 Muhtırasını yapan kadronun ilk iş olarak TRT’nin özerkliğini kaldırması, televizyonun siyasi gücünün farkına varıldığını gösteriyordu. 2 Ağustos 1974 tarihinden itibaren, TRT sürekli olarak Kıbrıs Barış Harekâtı ile ilgili haber ve belgesellere yer verdi, bu sayede televizyon Türkiye açısından milli olarak kabul edilen bir konuyu tüm Türkiye’ye ve dünyaya duyurarak rüştünü ispatlamış oldu. Aynı şekilde, 1970'li yıllar, Süleyman Demirel ve Bülent Ecevit'in neredeyse her gece televizyon aracılığıyla halka hitap edip bir platforma dönüştü. Böylece, 1970’li yıllarda televizyonun politizasyonu süreci de başladı. 1970’li yıllar boyunca, televizyon bir propaganda aracı olarak nasıl kullanıldı? Televizyonun propaganda aracı olarak kullanılmasının yasal zemini nasıl oluştu? Bu makale, söz konusu sorulara cevaplar aramayı ve bundan hareketle Türk siyasi hayatına dair sonuçlar çıkarmayı hedeflemektedir. Makale, TRT Arşivi, dönemin süreli yayınları ve arşiv belgeleri ışığında televizyonun propaganda işlevi ve bunun yasal çerçevesini analitik bir şekilde değerlendirilmeyi amaçlamaktadır.

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social Sciences Studies is the property of Social Sciences Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Industry 4.0 is transforming and reshaping the production methods in all sectors, and significant-changes are also anticipated in television broadcasting in the near future. Artificial intelligence and robotic systems, virtual reality applications, big data, the Internet of Things, and cloud computing, among other components of Industry 4.0, are expected to enable automation in television broadcasting, diversify and expand broadcast content. However, it is also foreseen that employment issues will arise. The aim of this research is to elucidate the views of television professionals on contemporary television broadcasting, their perspectives on the evolving form of television broadcasting in the emerging world of Industry 4.0, and whether automation in broadcasting creates employment concerns. To achieve this objective, data was obtained through in-depth interviews using qualitative research techniques. Eight media professionals from different fields of television broadcasting, which could be affected by the nature of their work by developments in Industry 4.0, were selected using purposive sampling for the interviews. According to the findings, television workers in Turkey find contemporary television broadcasting technically successful but consider it lacking in terms of content quality. Participants believe that media quickly adapt to new technologies, and while some job sectors may disappear in Industry 4.0, new areas of expertise will emerge. The results show that most participants believe that television will be different from its current form in the near future as we enter Industry 4.0, and it will continue to exist in the future. [ABSTRACT FROM AUTHOR]

Copyright of Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Istanbul Commerce University Journal of Social Sciences / İstanbul Ticaret Üniversitesi Sosyal Bilimler Dergisi is the property of Istanbul Commerce University Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: Many factors affect language development in infancy and early childhood. In this study, the relationship of screen exposure of children aged 16-36 months with some familial sociodemographic data and its effect on the child's language and speech development were evaluated with the Turkish Communication Development Inventory-II (TIGE-II). The effects of screen exposure and exposure times on language and speech development in children were investigated. Methods: This is a single-center, cross-sectional study. 90 patients, who were hospitalized in General Pediatric Services and met the criteria for participation in the study were included. A questionnaire consisting of 25 questions created by us regarding the sociodemographic data and screen usage characteristics of the patients and their parents was applied. TIGE-II was used to measure the language development levels of children. SPSS 25.0 package program was used for data analysis and statistical significance level was accepted as p<0.05. Results: The average age of the participants was 25 months. 58.9% were male. It was seen that 88.9% of the children were acquainted with the screen, the age at which the screen was used was before the age of 2 in all children, and 55% of the children had more than one hour of screen use in a day. The spoken word score, mean utterance length score, and case suffix scores were found to be higher than the TİGE-II scores of children who had never been exposed to screens. And also, spoken word score, word usage score, word suffix score, using more than one word in a sentence score, average utterance length score, case suffix score, verb suffix score and mixed sentence structure score according to children who started watching screen between 13-24 months, compared to children who started watching screen between 0-12 months were found to be significantly higher. Conclusion: In our study, it was observed that screen exposure in children negatively affects language and speech development. It is predicted that family physicians questioning the child's language development, explaining the negative effects of screen exposure, and informing families about spending quality and interactive time with children will contribute to reducing screen exposure. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Design Architecture & Engineering (FBU-DAE) / Tasarım, Mimarlık ve Mühendislik Dergisi is the property of Journal of Design Architecture & Engineering and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Geleneksel ve modern dönemde tüketim etkinliği öncelikle üretim ilişkilerinin bir sonucu olarak arz ve talep yasaları içerisinde belirlenirken 1970’li yıllarla birlikte tüketim kültürü toplumsal alanın temel örgütlenme şekli haline gelmiştir. Bu dönemde gündelik hayat pratikleri içerisinde tüketim nesnelerinin alanı gün geçtikçe genişlerken sosyal teoride özne ve nesne arasında kurulan klasik diyalektik ilişkide bir tersine çevrim gerçekleşmiştir. Böylelikle öznenin nesne üzerindeki belirleyiciliği azalırken, nesneler sistemi bütünsel bir söylem alanı olarak toplumsal yaşamın merkezine oturmuştur. Tüketim toplumunun nesneler dünyası üzerinden işlediği göz önüne alındığında günümüzde kapitalist sistem, tüketim nesneleri üzerinden bir yandan toplumsal alanı yeniden üretirken diğer yandan nesnelerin taşıdığı gösterge değerleri toplumsal alanda yeni içerme ve dışlama stratejileriyle bir denetim mekanizması görevi üstlenmektedir. Tüm bu sürecin işlemesinde televizyon toplumsal alanda yeni bir gerçeklik rejiminin parçası olarak nesneler sistemini yeniden büyülenmenin bir aracı haline getirmiştir. İçerikten yoksun salt biçimsel formlar haline gelerek genişleyen nesneler dünyası, toplumsal anlamın entropik bir süreçte içeriğinin boşalmasına neden olmaktadır. Televizyon yayıncılığında realite programları gündelik hayatın fragmanlarını ekrana taşırken bu programların bir alt türü olan yaşam tarzı programları, gündelik hayatın tüketim kültürüne dayalı yaşam evrenini meşrulaştıran bir anlam matrisini sembolik olarak inşa etmektedir. Bu çalışma gündelik hayat etkinliklerinin ideolojik doğasında nesneler sisteminin anlam ve işlevini yaşam tarzı programlarındaki temsiller üzerinden tartışmak amacındadır. Bu bağlamda amaca yönelik bir örneklem oluşturularak tespit edilen programlar nitel içerik analizi yöntemi kullanılarak eleştirel perspektiften yorumlanmıştır.

Since the first trials of a series of inventions leading to the invention of television, the medium has undergone continuous development and transformation and has taken its current form. Television continues to change today, with user needs and new effects in different communication technologies. In the light of these developments, digital broadcasting by experiencing convergence between internet and television; It gave birth to concepts such as Web TV, IPTV and Mobile TV. Especially widespread internet-connected devices over The Top Television (OTT TV) have contributed to the emergence of broadcasting. In this study, the journey from the historical development of television to digital broadcasting was discussed and the growth experienced by Netflix, especially during Covid-19, was mentioned as an example of OTT TV, which is popular worldwide. Semi-structured interviews were conducted with 12 people with four different sociocultural structures. Visualization opportunities were used to better understand the data and some of the remarks of the participants were included. Looking at the data obtained after the interview, it was observed that the Netflix subscription increased during the Covid-19 period and the time spent on the screen increased.

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 (Bridal 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 on 20 women included in the research has changed the perception of the bride and created individuals who argue that the bride, who has flashy and exaggerated luxury consumption products, is one step ahead. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Public Health is the property of Turkish Journal of Public Health and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moment Journal: Journal of Cultural Studies is the property of Moment Journal: Journal of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many factors form the collective memory of societies and play a role in cultural change. In this study, the process of Turkey's acquaintance with television, in particular the relationship between cultural change and technology, is discussed with the oral history method. In the study, the answers to the questions “How did society say hello to television and how did television affect the daily life of society?” were questioned from the point of view of folklore, and semi-structured interviews were conducted with 21 informants who witnessed this process, in other words, who experienced cultural shock, between 2012 and 2019. Television in terms of communication technology; is at a leading, critical point in cultural change. Television has been characterized as “the video radio, home theater, invention of the devil, invention of the infidel, Christ, antichrist, opium of the people, wasteland, time thief, fool's box, magic box, painkiller, white noise, companion of loneliness, ordinary, low, electronic giant, farsighted technology, window to the world, myth, contemporary storyteller, culture production machine, cultural garbage” in social memory, from positive and negative viewpoints. The process of acquaintance with television in Anatolia took place approximately between 1970-1985; verbal expressions of television such as fairy tales, stories, legends, and folk songs; taking an active role in children's games, entertainment and replacing ordinary daily conversations. It is seen that people adjust their daily or weekly plans and time according to television. In particular, the elderly showed resistance to meeting with TV, and this caused tragicomic memories in terms of folk humor; the fact that TV also affects neighborliness and hospitality, and travels are made even outside the province to watch television; that the financial difficulty of buying television creates a memory in the public economy; it has been determined that expatriates and people with good economic status take an active role in meeting with television and this situation gives them prestige and status. It is seen that traditional folk theater such as Karagöz-Hacivat was used in the first period domestic broadcasts, and besides, television negatively affected traditional conversation meetings and coffeehouses, which are the performance environment of minstrels, in the context of cultural change. In addition, television causes para-social interaction; people tend to identify themselves or those around them with people on television, especially in matters related to their appearances, such as clothing, speech, and hairstyle, and thus television directs fashion. It has been determined that people give names or nicknames to their children, spouses, friends or animals based on the characters on the television, and this affects children's games. It has been determined that television also affects handicrafts, and people give names to hand-knitted models based on the people they are influenced by television. It is seen that an important event such as the coup in 1980, which profoundly affected society in terms of politics, took place in memory as an oral history record concerning television. In this period, in the marriage rite of passage, while the television turned into a dowry object for the man, the girl was expected to knit a television cover for her dowry. In addition, when the bride is taken to the groom's house, she does not get out of the vehicle and asks her mother-in-law or father-in-law for an asset with material value, called "drop off" or "donation for the road". It is seen that television is donated to the bride for a discount besides properties such as fields, vineyards, and houses. The arrival of electricity in Anatolia for the people who use the car battery as a solution to watch television and get electricity after TV. "Television came, electricity came." is expressed. In this process, it is seen that coffee houses have an important spatial function. Words such as television tea, television tingling, television evil eye, antenna forest, and telesapphire show the emergence of television jargon. In addition, it has been determined that television is included in verbal expressions such as riddles, manis, and folk songs. It is concluded that television is functional in social and cultural change in terms of carrying the local to the national and contributing to nationalization, as well as accelerating globalization. It is thought that this study will contribute to research that will analyze cultural changes in folklore and technology. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pandemi sürecinde Sağlık Bakanlığı tarafından hazırlanan “Koronavirüs Alacağımız TedbirlerdenGüçlü Değil” isimli kamu spotlarında, ünlü dizi karakterleri Ateş Hekimoğlu ve Ali Vefa kullanılmıştır.Gerçek ve başarılı pek çok doktorun aksine, birer temsil olan bu dizi karakterlerinin bakanlıktarafından kullanılması dikkat çekicidir. Toplumun içinde yaşadığı hiper-gerçeklik döneminde bugibi bir uygulamanın tercih edilmesi, simülasyonun gerçekten daha gerçek olduğunu göstermektedir.Ayrıca insan hayatını ilgilendiren en önemli unsurların bile temsiller aracılığı ile topluma ulaşacağınındüşünülmüş olması hem bir sorunsal, hem de içinde yaşadığımız “aşkın simülasyon evreni”nin kanıtıgibidir. Çalışma Baudrillard’ın simülasyon kuramı bağlamında bu sorunu ele alarak, öyküsel anlatıanalizi yöntemiyle söz konusu dizi karakterlerinin kamu spotlarında kullanımının arkasında yatanmotivasyonu karakter temsillerinin temel özellikleri doğrultusunda incelemeyi konu edinmektedir. Sözkonusu doktor temsilleri “olmazı olur eden, olağanüstü yetenekli” karakterler olarak görünür olmaktave bir tür büyücü gibi “temsilden kanaat önderine” dönüştürülmektedir. Yaratılmış tüm bu doktortiplemeleri, simülasyon evreninin bir parçası olup aynı sistem içerisinde yaşamını sürdüren toplumfertleri tarafından da mucizevi yönleriyle tanınmaktadırlar. Dolayısıyla söz konusu karakterler birergüven unsuru olarak tanınmaları sebebiyle COVID-19 önlemlerinin anlatıldığı kamu spotlarında bilgiakışını kolaylaştırmak adına kullanılmışlardır. Özünde birer temsilden ibaret olan dizi karakterleri,simülasyonun hakikatten daha güçlü bir anlatı barındırdığı varsayılarak kamu spotlarında gerçekhekimler yerine tercih edilmiştir.

Televizyonun icadı ve teknik gelişimini tamamlayarak gündelik hayatta yer almaya başlaması uzun bir tarihsel süreci kapsamaktadır. Bu sürece en az bunlar kadar uzun süren onu anlamlandırma ve sosyal-kültürel hayatta konumlandırma çabaları eşlik etmiştir. Televizyonun kamusal söylemde yer alışı gündelik hayatın temel bir unsuru olarak kabul görmesinden ve yaygınlaşmasından çok önce gerçekleşmiştir. Televizyon hakkındaki söylemler yalnızca onu keşfeden ülkelerle sınırlı kalmamış, diğer ülkelere de yayılmıştır. Özellikle gelişmiş Batılı ülkelerden yayılan bu televizyon söylemi 1930’lu yıllarda Türkiye’de de karşılık bulmuştur. Bu yıllarda gazetelerde televizyonun gelişimi konusundaki haberlerin ve köşe yazılarının ortaya çıkışı bu yeni iletişim teknolojisine duyulan ilgiyi ortaya koymaktadır. Bu çalışmada televizyona dair gelişmelerin Türkiye’de 1920’li yılların sonlarından 1940’lı yıllara kadar olan süreçte kamusal söylemde kendisine nasıl yer bulduğuna odaklanılmaktadır. Televizyonu anlamlandırma biçiminin bu tekniği keşfeden ve geliştiren öncü ülkelerdeki hâkim televizyon söyleminden ve anlamlandırma biçiminden nasıl etkilendiği incelenmektedir. Bu çerçevede, televizyona dair söylemler üzerinden bir zihniyetler tarihi çalışması gerçekleştirilmektedir. Çalışmanın temel veri kaynaklarını ele alınan dönemdeki gazete arşivleri oluşturmaktadır. Milli Kütüphane’nin dijitalsüreli yayın arşivi “televizyon” anahtar kelimesiyle taranarak Akşam, Hâkimiyeti Milliye, Kurun, Ulus ve Vakit gibi gazetelerden ulaşılan haber ve köşe yazıları üzerinden bu yeni teknoloji ve iletişim biçimine dair dönemin kamusal söylemi nitel bir yorumlama temelinde tarihsel olarak analiz edilmiştir. Araştırma sonucunda, yeni bir iletişim teknolojisinin tanımlanmasının dönemin toplumsal koşulları ve mevcut iletişim biçimleri bağlamında gerçekleştirildiği görülmüştür. Ayrıca, Türkiye’de televizyonuanlamlandırmada bu yeni iletişim teknolojisi ve biçimine dair uluslararası söylem de temel bir rol oynamıştır.

Netflix, medyanın üretim ve dağıtımında büyük değişimleri tetikleyerek “talebe bağlı görüntü” (VOD)dönemini başlatırken, izleyicilerin de televizyon ve sinema izleme alışkanlıklarında farklılaşmalaryaratmış ve bu durum izleyicilerin “aşırı izleme” pratiğini geliştirmesine neden olmuştur. DolayısıylaNetflix, bugüne kadar alıştığımız televizyon programlarının lineer yapısının değişmesine nedenolurken, izleme deneyiminde de büyük değişimlerin yaşanmasını sağlamış ve bu yönüyle hemeleştirilmiş hem de takdir edilmiştir. Bu çalışma, Netflix’in dünya çapında neden olduğu izlemealışkanlıklarındaki değişimin Türkiye’deki etkisini ortaya koymayı hedeflemektedir. Makalede öncelikleizleyici çalışmalarındaki temel yaklaşımlar tarihsel açıdan değerlendirilmiş ve dijital çağda izleyicilerinrolü kavramsal olarak ortaya konmuştur. Sonraki kısımlarda çalışma kapsamında Türkiye’deki Netflixkullanıcılarının aşırı izleme alışkanlıklarının yanı sıra, izleyicilerin Netflix’e ilişkin duygu, düşünce vedeğerlendirmeleri nitel araştırma yöntemiyle analiz edilmiştir. Bu doğrultuda, Nisan – Aralık 2020tarihleri arasında 50 katılımcıyla derinlemesine mülakatlar yapılmıştır. Edinilen bulgular sonucunda,katılımcıların genelinin Netflix tercihi nedeniyle televizyon seyretmediği ve Türkiye’deki Netflixkullanıcılarının da aşırı izleme alışkanlığına sahip olduğu tespit edilmiştir.

Medyanın toplumsal temsiller aracılığıyla ürettiği medya metinlerinin içeriği, toplumların değer yargıları, sosyo-kültürel yapıları, ideolojik ve politik eğilimleriyle yakından ilişkilidir. Sosyo-kültürel yapının ve değerlerin oluşmasında kültüre ihtiyaç duyduğu yapıyı sağlayan din, Stuart Hall için ideolojik anlamın bir alanıdır. İngiliz Kültürel Çalışmaları medya metinlerini de ideolojik yeniden üretimin gerçekleştiği ve aynı zamanda ideolojik mücadelenin verildiği bir alan olarak görmektedir. Din ve ideoloji ilişkisi, medyanın ideolojik olduğu görüşüyle bir araya geldiğinde çok katmanlı bir alan oluşturmaktadır. Bu çalışma, Messiah dizisi bağlamında Mehdi/Mesih inancını incelemeyi ve din, kültür, ideoloji, politika, hegemonya ve medya açısından dizinin topluma ilettiği mesajları görünür kılmayı amaçlamaktadır. Dizide yer alan, uluslararası ilişkiler kapsamında dini, siyasi, kültürel temsillere ve kodlara ilişkin söylemler, anlamın dil aracılığıyla inşa edildiğini vurgulayan ve eleştirel paradigma içinde yer alan inşacı temsil yaklaşımı ve Van Dijk’ın kavramlarından yola çıkılarak eleştirel söylem analizi yapılacaktır. Birinci sezonu oluşturan dizinin on bölümü üzerinden yapılan analizde, dizinin söyleminin dinin ideolojik yönünü hem birleştirici hem de ayrıştırıcı niteliği açısından vurgularken bilinen din ve inançları tartışmaya açarak bunların yerine yeni bir din ve düzen söylemi inşa ettiği tespit edilmiştir.

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Strategic & Social Research is the property of Mehmet Akif Ersoy University, Social Science Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Health Academics / Sağlık Akademisyenleri Dergisi is the property of Journal of Health Academics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Fenerbahce University Journal of Health Sciences (FBU-JOSH) / Fenerbahçe Üniversitesi Sağlık Bilimleri Dergisi is the property of Fenerbahce University Journal of Health Sciences (FBU-JOSH) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Feodal sistemde kimliği ile doğan dolayısıyla seçme özgürlüğü olmayan birey, modernleşme ile birlikte kimlik sorunu yaşamaya başlamıştır. Endüstrileşmenin getirdiği sınıf ve statü atlama olanağı, modernleşen ve modernleşirken yabancılaşan bireyi yeni bir kimlik üretmek zorunda bırakmıştır. Böylece modern birey, daha fazla çalışarak para kazanmanın yanı sıra harcama yaparak sınıf atlamanın dahi mümkün olduğunu görmüştür. Dolayısıyla insanların dâhil oldukları sınıfa uygun kimlik inşa etmeleri zorunlu hale gelmiştir. Kimlik inşasında bugün en etkin unsurlardan biri olan kitle iletişim araçları, insanların var olan kimliklerini yeniden inşa edebileceklerini göstermektedir. Yeniden inşa edilecek bu kimlik, postmodern insanın elde etmeyi arzuladığı şöhretli kimliği ifade etmektedir. Bunun için de genelde yarışma programları özelde ise TV8 kanalının gerçeksi gösterileri, etkin bir role sahiptir. Araştırma için eğlence odaklı yayın anlayışını benimseyen TV8 kanalında yayınlanan “Survivor, O Ses Türkiye, İşte Benim Stilim, Yetenek Sizsiniz Türkiye” adlı dört program seçilmiştir. Kimlik inşası bağlamında söylem analizi yöntemi ile bu dört program incelenmiştir. Araştırma, TV8’in gerçeksi gösterilerinde kimlik inşasının hangi kodlar aracılığıyla izleyiciye sunulduğu sorunsalına odaklanmaktadır. Çalışmadan elde edilen bulgular, kanalın yarışmacılar aracılığıyla izleyicilere “Ünlü Gönüllüler, O Ses ya da Bu Ses, Tarzın Kimliğindir ve Yetenekli, Yeteneksiz” kodları aracılığıyla yeni bir kimlik inşa edilebileceği mesajını verdiğini ortaya koymuştur.

Copyright of Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)