Turkish censors vs Netflix, series 1 episode 1

14 May 18 | Artistic Freedom, Media Freedom, News and features, Turkey, Turkey Uncensored

[vc_row][vc_column][vc_single_image image=”100332″ img_size=”full” alignment=”center”][vc_column_text]All that is solid in the Turkish media melted into air over the past year, and much of the entertainment content has migrated from traditional platforms to streaming services like YouTube and Netflix.

Turkey’s watchdogs took notice. In March parliament passed a law that expands the powers of Turkey’s Radio and Television Supreme Council (RTÜK), including blocking internet broadcasts. With the new law the state hopes to have some degree of control over online content that it considers dangerous.

This spring, many bulwarks of Turkish media have shape-shifted. In April, Turkey’s biggest media conglomerate, Doğan, changed hands. Foreign media titles with Turkish editions, including the Wall Street Journal, Newsweek and Al Jazeera, have already pulled out of the Turkish market. Newspaper circulations saw sharp decline.

Meanwhile online streaming services have thrived. Spotify entered Turkey in 2013 and pushed its premium service with a Vodafone deal two years later. On Twitter, BBC’s Turkish service has just short of three million followers. Netflix introduced its Turkish service in 2016. Last year it too signed a deal with Vodafone, and Netflix Turkey pushed its products aggressively, with posters of House of Cards plastered in Istanbul’s subway stations.

Statista, an online statistics website, predicts there will be approximately 397.4 thousand active streaming subscribers to Netflix in Turkey in 2019.

Turkish-owned streaming services also came to the fore. In 2012 Doğuş Media Group launched its video on demand service, puhutv, and there was excitement last year when the channel showed its first series, Fi, based on a best-selling trilogy by Turkish author Azra Kohen. The series quickly became a sensation, largely thanks to scenes featuring nudity and racy sexual encounters.

Puhutv is a free, ad-supported service and watching Fi on Puhutv meant seeing many ads of condoms, dark chocolates and other products linked with pleasure. In just three days, the pilot episode of Fi was viewed more than four and a half million times.

For content producers the Turkish love for the internet means new opportunities for profit. In February a report by Interpress found that the number of internet users increased by 13 percent to 51 million from the past year. Turkey is one of the largest markets for social media networks and it ranks among the top five countries with largest Facebook country populations.

The RTÜK watchdog, which now has great control over streaming services, normally chases television broadcasters. It famously went after popular TV dating shows last year, and producers faced heavy fines accused of violating ‘public morals’. Marriage with Zuhal Topal, Esra Erol and other shows were pulled off the air. A famous dating show duo, Seda Sayan and Uğur Arslan, considered releasing their show Come Here if You’ll Get Married on the internet.

Those dating shows outraged not only conservatives but many other swaths of Turkish society. Feminists considered them an affront to women’s struggle and they signed a petition to ban dating shows en masse. RTUK announced there were around 120 thousand complaints from viewers about the shows.

With the new bill, producers of shows streamed online will need to obtain licenses. “The broadcasts will be supervised the same way RTÜK supervises landline, satellite and cable broadcasts,” reads the new law which gives RTÜK the power to ban shows that don’t get the approval of Turkish Intelligence Agency and the General Directorate of Security.

Family Ties, a recent episode of the US series Designated Survivor angered many viewers when it was broadcast last November. One of the characters in the episode was a thinly veiled representation of Fethullah Gülen, an imam who leads a global Islamist network named Hizmet (‘The Service’).

The Turkish state accuses Hizmet, its US-based leaders and followers in the Turkish Army of masterminding 2016’s failed coup attempt, during which 250 people were killed. Turkey has requested Gülen’s extradition.

But in Family Ties, the Gülen-like character was described as an “activist”, and this led to protests on Twitter in Turkey. Some Turks wanted the show banned. In Turkey Designated Survivor is streamed by Netflix.

In September Netflix will release The Protector, its first Turkish television series by up and coming film director Can Evrenol. “The series follows the epic adventure of Hakan, a young shopkeeper whose modern world gets turned upside down when he learns he’s connected to a secret, ancient order, tasked with protecting Istanbul,” according to a Netflix press release.

“Streaming services give freedom and enthusiasm to directors who are normally reluctant to work for television,” Selin Gürel, a film critic for Milliyet Sanat magazine said.

“Content regulations are unwelcome, but I don’t think anyone would give up telling stories because of them. Directors like Can Evrenol are capable of finding some other way for protecting their style and vision.”

In Gürel’s view, the new regulations will not lead to dramatic changes for Turkish films.

“It is annoying that RTÜK now spreads its control to interactive platforms like Netflix,” said Kerem Akça, a film critic for Posta newspaper. “RTÜK should keep its hands away from paid platforms.”

Akça has high expectations from Evrenol’s new film, but he fears the effects of new regulations on The Protector and future Turkish shows for Netflix can be harmful.

“The real problem is whether RTÜK’s control on content shape-shifts into self-censorship,” Akça said. “Before it does, someone needs to take the necessary steps to avoid content censorship on Netflix.”

But Turkish artists have long found ways of avoiding the censors, and new regulations can even lead to more original thinking.

“This is a new zone for RTÜK,” Gürel, the critic, said. “I am sure that vagueness will be useful for creators, at least for a while.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Press freedom violations in Turkey reported to Mapping Media Freedom since 24 May 2014

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Padraig Reidy: The paranoid style in Turkish politics

18 Dec 14 | News and features, Turkey

Turkish President Recep Tayyip Erdogan (Photo: Philip Janek / Demotix)

Turkish President Recep Tayyip Erdogan (Photo: Philip Janek / Demotix)

What’s wrong with Turkey? Or, more to the point what is wrong with Turkey’s president that makes him so determined to fight, like a two a.m. drunk vowing to take on all comers?

In the past week alone, Turkey’s President Recep Tayyip Erdoğan and his allies have launched attacks on his former ally Fethullah Gülen and his followers, novelists Orhan Pamuk and Elif Shafak, and even supporters of Istanbul soccer club Besiktas. It would be foolish to attempt to rank these attacks in terms of importance or urgency, but the attack on the Gülenites is the most interesting.

The Gülen movement was almost unknown to anyone outside Turkey and the Turkish diaspora until 2008, when Fethullah Gülen topped an online poll run jointly by Prospect and Foreign Policy magazines. The poll was almost certainly hijacked by members of the movement, which its leader modestly claims doesn’t really exist (“[S]ome people may regard my views well and show respect to me, and I hope they have not deceived themselves in doing so,” Gülen conceded in an interview with Foreign Policy. “Some people think that I am a leader of a movement. Some think that there is a central organization responsible for all the institutions they wrongly think affiliated with me. They ignore the zeal of many to serve humanity and to gain God’s good pleasure in doing so.”)

The movement, known to some as “Hizmet”, is seen as bearing great power in Turkey. In a country well used to conspiracy theories about secret organisations — such as the perceived ultra-nationalist, ultra-secular Ergenekon — it is unsurprising that the Gülenists attract suspicion. Their cultishness does little to allay that sentiment.

Among the many weapons at the disposal of the movement are its newspapers, the Turkish Zaman and English-language Today’s Zaman. It was journalists from Zaman, among others perceived as Gülenites, who were arrested over the weekend, as reported by Index.

The move by Erdoğan against Gülenists is widely seen as part of Erdoğan’s defence against allegations of corruption within his party — allegations he believes are led by Gülenists within the police and other agencies.

With their journalists arrested, the Gülenists now find themselves facing the kind of censorship they themselves espoused not so long ago.

In 2011, journalist Ahmet Sik was working on a book called Army of the Imam, which was sought to expose the Gülenists’ connections with the police. The manuscript was seized by authorities. When Andrew Finkel, then a columnist with Today’s Zaman (and occasional Index contributor), submitted an article suggesting that the Gülen movement should not support such censorship, he was sacked by the paper. (The column subsequently appeared in rival English-language newspaper Hurriyet Daily News)

It’s tempting amid all this to wish for a plague on all their houses. But as one Turkey watcher pointed out to me, it’s inevitable that some innocents will get caught in the crossfire between the former allies in Erdoğan’s Islamist AK party and the Gülen movement.

Meanwhile, in keeping with the paranoid style of Turkish politics, pro-Erdoğan newspaper Takvim identified an external enemy in the shape of an “international literature lobby”.

The agents of that lobby, which is clearly anti-Turkish rather than pro-free speech, were identified as Orhan Pamuk and Elif Shafak. It is, in its own way, true that Shafak and Pamuk are part of the international literature lobby: London-based Shafak can often be seen at English PEN events, and Pamuk has long been identified as a literary and free speech hero around the world. But it is an enormous stretch to imagine that the novelists of the world are gathering in smoke-filled rooms plotting the overthrow of the Turkish state, rather than just hoping that Turkish people should be allowed write and read books in peace. Takvim went as far as to imagine that the authors were paid agents of the “literature lobby”, which is to make the terrible mistake of imagining there’s money in free speech. No matter: paranoia excels at inventing its own truths.

Amidst all this, less glamorous than Pamuk and Shafak, less powerful than Gülen and Erdoğan, fans of Besiktas football club too face persecution. The “Çarşı” group are claimed to have attempted a coup against the government after playing a prominent role in the Gezi park protests. Supporters of the tough working class Istanbul club, known as the Black Eagles, have a reputation for anti-authoritarianism and political activism. According to Euronews’ Bora Bayraktar: “While the court’s verdict is uncertain, what is known is that the Çarşı fans – often proud to be ahead of their rivals – have become the first football supporters’ group to be accused of an attempted coup.”

A source in Istanbul tells Index that when asked how he answered to the charge of fomenting a coup, one accused supporter replied: “If we’re that strong we would make Beşiktaş the champions!”, a prospect as unlikely for the underdog club as a dull but functioning liberal democracy seems for Turkey.

This article was posted on 18 December 2014 at indexoncensorship.org