Creative Industries in Turkey

Creative Sectors in Ankara, 2023

This paper aims to exfoliate light on the creative sectors in Ankara, the capital megacity of Turkey, and their part in fostering invention and artistic development. Ankara, with its rich literal heritage and vibrant contemporary scene, has come a mecca for creative diligence that encompass colorful disciplines similar as design, trades, crafts, media, and technology. By examining the different creative sectors present in Ankara, their benefactions to the original frugality, artistic identity, and their implicit for unborn growth, this paper seeks to punctuate the significance of creativity and invention in Ankara's socio- profitable geography. This essay was written within the scope of the "25-CC-AMU-PIE:Creative Cities In The European Union" course at Adam Mickiewicz University, within the scope of the 2022-2023 Academic Year Spring Semester Erasmus+ KA131 Studies Program.

Art and technology have pressed forward in unison since the dawn of mankind. As technological advances transform society, this transformative influence also on the art field. A number of artists have pushed the boundaries of science by making use of new technologies in pioneering and unconventional ways. This thesis aims to pinpoint the current state of new media art – a movement that took hold in Turkey in the 2000s – by uncovering the events that have taken place in our country over the years. A list of has been provided that documents events in the new media field organized by institutions, museums and galleries in Turkey in addition to festivals and other events held by independent entrepreneurs. Furthermore, the thesis also contains opinions from experts in the field who have kindly contributed to this thesis by way of interviews. The research and interviews conducted herein have indicated a lack of technological infrastructure and education, in addition to a dearth of institutional support, independent enterprise and academic study – factors that appear to have retarded the growth of new media in Turkey in comparison to other countries around the world. The study has delved into the reasons for Turkish artists’ lack of understanding of new technologies and their use as a creative tool. New media is a noteworthy field that is little known in Turkey but promises further growth in developing countries in particular. In order for a new generation of artists to develop a critical outlook and influence the current age, they have to engage with the technological infrastructure and arm themselves with the necessary tools. The thesis makes a series of suggestions for advancing the field and making it more widespread in Turkey.

Çalışma ve Toplum, 2019

The notion of 'creative industries' usually coupled with implicit or explicit neo-liberal discourse is rarely criticized on the basis of its reductionistic understanding of creativity, its untenable assumption of a crystal clear definition of creativity, misclassification of industries as creative and non-creative, and the bizarre agency problem which attributes creativity to an industry, rather than individuals (especially personality differences), organizations (including group and team settings as well as uses of technological tools for creative activity) and cultures. Although the discourse of 'creative industry' usually goes in tandem with 'cultural industry', the use of 'culture' and 'cultural' is misleading as they usually refer to popular culture of mass production that revolve on economic indicators such as profitability, revenue, resource efficiency etc. ignoring the fact that there may be cultural differences in the way creativity is interpreted, promoted or discouraged (e.g. the notions of creativity in Chinese vs. Global Western culture). Thus in this article, what is wrong about the widespread notion of 'creative industry' is shown through 20 objections, and a set of research papers on psychological, organizational and cultural dimensions of creativity is presented and discussed.

Turkish Cultural Policy Report: A Civil Perspective, 2011

41st ISoCaRP Congress, 2005

This study begin with the facilities of the film industry in Turkey, then activities of Ministry of Culture and Tourism General Directorate of Cinema of Turkey, sales of box office, and film industry investments are discussed. Contributions of the film industry to economies and cultures of the cities analyzed with multiplier effect. When analyze the Turkish film industry export, which has been argued that it is level to show the effect on the international scale. The main point of this discussion is Hollywood film industry that has effects in global scale with advances level. The film industry is seen as a mass communication tool with sub-factors. Cinema is also one of the content items of mass media. It affects society in many different ways as from fashion to tourism and from culture to economy. Hollywood is a successful sample in this regard. It has effects all around the world with perception management and commercial relations. In what degree, Turkey can export series, movies and other multimedia elements and use movie industry as an economic and cultural bridge were evaluated. Although early stage, the transfer of cultural codes and economical choice will be realized more quickly with the improvements of communication and transportation facilities. The issues to be addressed within the scope of cultural economics and information technology, the effects of the Turkish film industry on a global scale will be considered, so that the researchers who will make new studies, the investors who make movies, and industrial organizations have a study to base. By examination of this study periodically in the future, changings of effects of the Turkish film industry on a global scale to be seen and trend analysis can also be performed.

Procedia - Social and Behavioral Sciences, 2013

Culture economies and industries provide important contributions to sustain economic development of countries. In order to procure developments in culture economy or industries and turn them into economic added value, first of all, creation of the statistics in this subject and establishment of information banks will form a basis for academic works and projects based on culture economy. Innovative creative industries have been analysed within the framework of strategic management of the film industry. The importance of cinema and TV series industry (cinema film and serial film) has increased and its economic function has clarified with the development of media and technological infrastructure. Cinema industry is one of the locomotive strategic industries of a country with the power of turning into an economical value. The economic analysis of movie industry in Turkey was conducted in our work and it consists of data researching, compiling, evaluating and analysing works. The economic analysis of movie industry of creative industries will aid bringing light to the industry and provide a map.

Research on strategy and practice of Cultural and Creative Industries (CCIs) is an emerging field. Di erent industries and regions have various adaptations by digital- ization, ICT, design, research, tourism, cultural heritage, new media, and also con- nectivity, collaboration and innovation. Each subject contributes to and correlates in the chain of process that becomes much shorter and e cient in the future practice of CCIs. This chapter gives a brief introduction to current CCI figures and after that it will focus on CCI trends in Southeast Asia (SEA with countries such as Cambodia, Indonesia, Malaysia, Philippines, Thailand, and Vietnam) and Central and Eastern Europe (CEE countries as Albania, Bulgaria, Croatia, Czech, Hungary, Poland, Romania, Slovakia, Slovenia, Estonia, Latvia, and Lithuania). BOOK CHAPTER Citation: Feher, K., Junaidy, D. W., Larasati, D., Kovacs, A. & Rahardjo, B. (2017) Prospects of Creative Industries and Digital Economy. Perspectives from Southeast Asia and Central Europe. In. Novak, T. (ed) Go Hungary – Go Indonesia: Understanding Economic and Business Issues. Budapest Business School, University of Applied Sciences, pp.151-172. ISBN: 978-615-5607-26-4

book chapter, 2017

Research on strategy and practice of Cultural and Creative Industries (CCIs) is an emerging field. Di erent industries and regions have various adaptations by digital- ization, ICT, design, research, tourism, cultural heritage, new media, and also con- nectivity, collaboration and innovation. Each subject contributes to and correlates in the chain of process that becomes much shorter and e cient in the future practice of CCIs. This chapter gives a brief introduction to current CCI figures and after that it will focus on CCI trends in Southeast Asia (SEA with countries such as Cambodia, Indonesia, Malaysia, Philippines, Thailand, and Vietnam) and Central and Eastern Europe (CEE countries as Albania, Bulgaria, Croatia, Czech, Hungary, Poland, Romania, Slovakia, Slovenia, Estonia, Latvia, and Lithuania). BOOK CHAPTER Citation: Feher, K., Junaidy, D. W., Larasati, D., Kovacs, A. & Rahardjo, B. (2017) Prospects of Creative Industries and Digital Economy. Perspectives from Southeast Asia and Central Europe. In. Novak, T. (ed) Go Hungary – Go Indonesia: Understanding Economic and Business Issues. Budapest Business School, University of Applied Sciences, pp.151-172. ISBN: 978-615-5607-26-4

Paragraph, 1997

We consider recent developments in the cultural industries in Turkey, with particular reference to television broadcasting. We seek to show how recent transformations in the industry have been associated with significant developments in Turkish cultural identity. Historically, broadcasting has existed under the monopoly of the state-run Turkish Radio and Television Authority (TRT), and functioned very much as a voice of the Kemalist ideology of the Republic. From 1990, however, there was a rapid proliferation of illegal, commercial television channels, broadcasting signals from outside the country. This led to a new vitality in Turkish television culture, as the new commercial interests sought to develop programming that would appeal to audiences tired of the 'official' fare of TRT. Television began to reflect the popular culture of Turkey in ways that were quite creative. Since 1994, and the passing of new broadcasting legislation, the turbulence of commercialisation has quietened. There has been a degree of concentration in the industry, and commercial programming has become less innovative. The momentum of change has slowed, though it has by no means been halted.