Gençler yerli dizileri nasıl izliyor? Türkiye’de yeni televizyon ekosistemi çerçevesinde eleştirel bir izleyici araştırması
Yükleniyor...
Dosyalar
Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Ticaret Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Medya ortamını değiştiren dijital teknolojiler, televizyon yayıncılığı alanında da OTT platformların ortaya çıkmasıyla önemli bir değişime sahne olmuştur. Türkiye’de ulusal çapta faaliyet gösteren OTT platformlarının erişime açılmasıyla, televizyon yapım pratikleri ve izleyici tercihleri/deneyimleri açısından bir değişimin başladığı görülmektedir. Bu noktadan hareketle, bu çalışmanın amacı Türkiye’deki genç dizi izleyicilerinin OTT platformlarındaki yerli dizi izlemeye ilişkin görüş ve tutumları ile izleme davranışlarına yansıyan deneyim ve pratiklerin tutarlılığını incelemektedir. Bu bağlamda anket ve odak grup görüşmelerinden oluşan iki aşamalı bir araştırma tasarlanmıştır. İlk aşamada internet üzerinden paylaşılan anketle dizi izleyicilerinin geleneksel televizyon ve OTT platformlardaki dizi deneyiminin farklılıkları ve benzerlikleri belirlenmeye çalışılmıştır. Çalışmanın ikinci aşamasında ise anket bulguları doğrultusunda yerli dizi izleyicilerinin yarısının 18-34 yaş aralığında olduğu verisine dayanarak sınırlı bir örneklem üzerinden araştırma soruları derinleştirilmiştir. Bu kapsamda üç oturumda on sekiz katılımcıyla görüşülmüştür. Her iki araştırmadan elde edilen veriler birlikte değerlendirilmiş; üç tematik başlıkta toplanmış, tablolar aracılığıyla görselleştirilmiş ve yakın dönem izleyici çalışmalarında öne çıkan eleştirel kuramlar bağlamında analiz edilerek yorumlanmıştır. Bulgular, yerli OTT platformlarında yerli dizi izleme alışkanlıkları, deneyimleri ve buna karşı olan tutumların pratikten ve kişisel tecrübeden doğmadığını aksine katılımcıların söylemleri ile pratikleri arasında büyük bir çelişki olduğunu göstermektedir.
Digital technologies, which have changed the media environment, have witnessed a significant change with the emergence of OTT platforms in television broadcasting. With the opening of national OTT platforms in Turkey, a change has begun in terms of television production practices and audience preferences/experiences. From this point of view, this study aims to examine the opinions and attitudes of young audiences in Turkey towards watching dizi (Turkish TV drama) on OTT platforms and the consistency of their experiences and practices reflected in their watching behaviors. In this context, two-stage research consisting of survey and focus group interviews was designed. The first stage -an internet survey- determines the differences and similarities of audience experience on the traditional television dizi versus on OTT platform dizi. In the second stage of the study, the research questions were deepened on a limited sample based on the data that half of the dizi audience were between the ages of 18-34, in line with the survey findings. In this context, focus group discussions were held with eighteen participants in three sessions. In the sessions, questions categorized in three themes according to the survey results were asked. The data obtained from both studies were evaluated together; collected under three thematic titles, visualized through tables, and analyzed and interpreted in the context of critical theories prominent in recent audience studies. In the interviews, all of the participants who watch dizi on Turkish OTT platforms emphasized that not having to comply with the broadcast schedule of television brings great freedom. They stated that they even watch dizi they watch on traditional television via the internet instead of television. They said that they prefer to watch dizi online instead of linear television due to the difficulty of following the broadcast hours, restrictions-censorship affecting the content, and the length of the commercial breaks. In addition, they stated that providing the opportunity to watch whenever, wherever, as much as desired, and the feature of continuing where they left, save the audience from the flow of traditional television. However, both survey results and focus group interviews showed that the majority of the participants shared that they watched dizi in the evening hours, those who live alone on the television screen, and those who live with their family or roommates on the computer screen, but at home and mostly alone. Based on this result, although the myth of “where I want, when I want” is shown as the reason for preference, OTT platforms do not offer a change regarding the time and place. In the same way, it has been determined that although the time spent with dizi has not decreased or even increased, young people watching dizi on national OTT platforms have a perception that their watching time is decreasing. In this discussion created on the contradictions in the statements of the focus group participants, it was determined that the discourse “I can watch whenever I want, wherever I want, as much as I want” is not an expression that the participants produced based on their practices. It could be argued that the implication that such freedom exists, does not mean that it is used. Although there is such freedom, it can be claimed that the consumption habits gained from traditional television continue on OTT platforms as well. Another factor frequently emphasized as the reason for the preference for national productions on Turkish OTT platforms during the focus group discussions is that these contents are original, free and different. Since the focus is on diversity and originality, the participants were asked how they chose a dizi. Although awards, directors, cinematography, character depth, and new/unattempted genres are mentioned, when they are asked about the last dizi they watched, almost all of the participants mentioned the same dizi. When discussing deeply why they chose these dizis, it is understood that the popularity of the dizi outweighs the features they stated before. It has been revealed that attitudes have developed in this direction. On the contrary, in the interviews where the difference was highlighted, it was determined that the participants were reluctant to try different genres and continued the viewing preferences they had acquired from traditional television. It is one of the interesting elements that the audience has an illusion that OTT platforms are free and not controlled. It is noteworthy that the issue of freedom is perceived only through alcohol, smoking, and nudity, and political issues are not emphasized at all. As the focus group interviews deepened, it was revealed that the speed and diversity that the participants described as freedom at the beginning of the interview brought them to fatigue and anxiety. It has been understood that the anxiety of missing something pushes them to consume faster, and this fast consumption tires them and weakens their bond with the consumed product. When we look at the participants’ comments, it has been determined that the audience has a feeling of tiredness and a feeling of sameness. It can be argued that the consumer’s inability to choose as a result of encountering a ‘seemingly infinite’ number of options and the fatigue that arises before the choice, becomes more important than the choice itself, is also observed in the digital platform audience. The focus group participants create rituals for themselves before and/ or repeat while watching their favorite dizi, which can be interpreted as watching rituals to repair the bond between the audience and the product.
Digital technologies, which have changed the media environment, have witnessed a significant change with the emergence of OTT platforms in television broadcasting. With the opening of national OTT platforms in Turkey, a change has begun in terms of television production practices and audience preferences/experiences. From this point of view, this study aims to examine the opinions and attitudes of young audiences in Turkey towards watching dizi (Turkish TV drama) on OTT platforms and the consistency of their experiences and practices reflected in their watching behaviors. In this context, two-stage research consisting of survey and focus group interviews was designed. The first stage -an internet survey- determines the differences and similarities of audience experience on the traditional television dizi versus on OTT platform dizi. In the second stage of the study, the research questions were deepened on a limited sample based on the data that half of the dizi audience were between the ages of 18-34, in line with the survey findings. In this context, focus group discussions were held with eighteen participants in three sessions. In the sessions, questions categorized in three themes according to the survey results were asked. The data obtained from both studies were evaluated together; collected under three thematic titles, visualized through tables, and analyzed and interpreted in the context of critical theories prominent in recent audience studies. In the interviews, all of the participants who watch dizi on Turkish OTT platforms emphasized that not having to comply with the broadcast schedule of television brings great freedom. They stated that they even watch dizi they watch on traditional television via the internet instead of television. They said that they prefer to watch dizi online instead of linear television due to the difficulty of following the broadcast hours, restrictions-censorship affecting the content, and the length of the commercial breaks. In addition, they stated that providing the opportunity to watch whenever, wherever, as much as desired, and the feature of continuing where they left, save the audience from the flow of traditional television. However, both survey results and focus group interviews showed that the majority of the participants shared that they watched dizi in the evening hours, those who live alone on the television screen, and those who live with their family or roommates on the computer screen, but at home and mostly alone. Based on this result, although the myth of “where I want, when I want” is shown as the reason for preference, OTT platforms do not offer a change regarding the time and place. In the same way, it has been determined that although the time spent with dizi has not decreased or even increased, young people watching dizi on national OTT platforms have a perception that their watching time is decreasing. In this discussion created on the contradictions in the statements of the focus group participants, it was determined that the discourse “I can watch whenever I want, wherever I want, as much as I want” is not an expression that the participants produced based on their practices. It could be argued that the implication that such freedom exists, does not mean that it is used. Although there is such freedom, it can be claimed that the consumption habits gained from traditional television continue on OTT platforms as well. Another factor frequently emphasized as the reason for the preference for national productions on Turkish OTT platforms during the focus group discussions is that these contents are original, free and different. Since the focus is on diversity and originality, the participants were asked how they chose a dizi. Although awards, directors, cinematography, character depth, and new/unattempted genres are mentioned, when they are asked about the last dizi they watched, almost all of the participants mentioned the same dizi. When discussing deeply why they chose these dizis, it is understood that the popularity of the dizi outweighs the features they stated before. It has been revealed that attitudes have developed in this direction. On the contrary, in the interviews where the difference was highlighted, it was determined that the participants were reluctant to try different genres and continued the viewing preferences they had acquired from traditional television. It is one of the interesting elements that the audience has an illusion that OTT platforms are free and not controlled. It is noteworthy that the issue of freedom is perceived only through alcohol, smoking, and nudity, and political issues are not emphasized at all. As the focus group interviews deepened, it was revealed that the speed and diversity that the participants described as freedom at the beginning of the interview brought them to fatigue and anxiety. It has been understood that the anxiety of missing something pushes them to consume faster, and this fast consumption tires them and weakens their bond with the consumed product. When we look at the participants’ comments, it has been determined that the audience has a feeling of tiredness and a feeling of sameness. It can be argued that the consumer’s inability to choose as a result of encountering a ‘seemingly infinite’ number of options and the fatigue that arises before the choice, becomes more important than the choice itself, is also observed in the digital platform audience. The focus group participants create rituals for themselves before and/ or repeat while watching their favorite dizi, which can be interpreted as watching rituals to repair the bond between the audience and the product.
Açıklama
Anahtar Kelimeler
Televizyon, OTT Platform, İzleyici, Yerli Dizi, Television, OTT Platform, Audience, Turkish Dizi
Kaynak
Intermedia Uluslararası Hakemli İletişim Bilimleri E-Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
9
Sayı
17
