{"id":630,"date":"2017-12-13T11:42:13","date_gmt":"2017-12-13T11:42:13","guid":{"rendered":"http:\/\/yenimedya.aydin.edu.tr\/?page_id=630"},"modified":"2018-01-15T11:04:26","modified_gmt":"2018-01-15T11:04:26","slug":"ejnm_v02i1103","status":"publish","type":"page","link":"https:\/\/yenimedya.aydin.edu.tr\/tr\/ejnm_v02i1103\/","title":{"rendered":"ejnm_v02i1103"},"content":{"rendered":"<p><strong>\u015e\u0130DDET \u0130\u00c7ER\u0130KL\u0130 D\u0130Z\u0130LER\u0130N POP\u00dcLER\u0130TE SEBEPLER\u0130<\/strong><\/p>\n<p>Nur Emine KO\u00c7<\/p>\n<p><strong>\u00d6Z\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n<p>\u015eiddet unsurunun ekranlarda kullan\u0131m\u0131 yaln\u0131zca g\u00fcn\u00fcm\u00fczde de\u011fil, televizyon tarihinden beri var olan ve s\u00fcre gelen medyatik bir \u00f6zellik niteli\u011findedir. \u0130nsanlar farkl\u0131 k\u00fclt\u00fcr ve e\u011fitim seviyelerinde de olsalar \u015fiddet, asl\u0131nda a\u015f\u0131r\u0131l\u0131k i\u00e7eren her \u015fey, televizyonda izleyicinin dikkatini \u00e7ekmi\u015ftir. Televizyonda yay\u0131nlanan dizilerin bir\u00e7o\u011funda \u015fiddet unsuru, gerek izleyicinin tepkisini ve be\u011fenisi \u00e7ekmek, gerekse di\u011fer \u00fclkelere o dizileri daha kolay satmak i\u00e7in kullan\u0131lmaktad\u0131r. Bu \u00e7al\u0131\u015fmada \u015fiddet \u00f6\u011fesinin televizyon izleyicilerini hangi y\u00f6nlerden etkiledi\u011fi, \u015fiddetin \u00f6zellikle yabanc\u0131 dizilerde kullan\u0131m sebepleri ara\u015ft\u0131r\u0131lacakt\u0131r. Ara\u015ft\u0131rmada, George Gerbner\u2019in \u201cK\u00fclt\u00fcrel G\u00f6stergeler Projesi\u201d\u2019nin \u201cMesaj Sistem ve \u00c7\u00f6z\u00fcmleri\u201d bile\u015fenlerinden ve \u201cMutlu \u015eiddet Kuram\u0131\u201d\u2019ndan faydalan\u0131lacakt\u0131r. \u201cMesaj Sistem \u00c7\u00f6z\u00fcmlemesi\u201d, <em>Dexter<\/em> 5. Sezon (2010), <em>Spartacus Blood and Sand<\/em> 1. Sezon (2010) ve <em>The<\/em> <em>Walking Dead<\/em> 1. Sezon (2011) b\u00f6l\u00fcmleri \u00fczerine ger\u00e7ekle\u015ftirilecektir. Bu diziler, hem \u015fiddet i\u00e7erik dozajlar\u0131 a\u00e7\u0131s\u0131ndan, hem de t\u00fcm d\u00fcnyada izlenme oran\u0131 olarak y\u00fcksek olan dizilerdir. Dizilerin sadece bir sezonlar\u0131n\u0131n al\u0131nmas\u0131n\u0131n sebebi, ara\u015ft\u0131rmada kuram ve modelinden yararlan\u0131lan George Gerbner\u2019in de k\u0131s\u0131tl\u0131 tercihlerde bulunmas\u0131d\u0131r. CNBC- e ve TNT, yabanc\u0131 diziler veren kanallar aras\u0131nda en \u00e7ok izlenen televizyon kanallar\u0131 ve ayn\u0131 kanallar\u0131n resmi internet siteleri, pop\u00fcler ve s\u0131k kullan\u0131lan yabanc\u0131 dizi izleme siteleri olduklar\u0131ndan se\u00e7ilmi\u015flerdir. Bu \u00e7al\u0131\u015fmada \u00f6ncelikle literat\u00fcr ara\u015ft\u0131rmas\u0131, mesaj sistem \u00e7\u00f6z\u00fcmlemesi ve kalitatif\/ nitel veri toplama y\u00f6ntemi kullan\u0131lacakt\u0131r. ( Fokus \u00c7al\u0131\u015fma Grubu ). Ara\u015ft\u0131rma evresinde \u015fiddet unsurunun kullan\u0131ld\u0131\u011f\u0131 yabanc\u0131 dizilerin, izleyiciyi etkiyip etkilemedi\u011fi ve bunun izleyiciye nas\u0131l yans\u0131d\u0131\u011f\u0131 \u00fczerine \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Bu ama\u00e7la da Amerikan men\u015feli yabanc\u0131 dizilerden \u015fiddet i\u00e7erikli \u00f6rnekler se\u00e7ilip, \u015fiddetin dizilerde nas\u0131l kullan\u0131ld\u0131\u011f\u0131 incelenmek ve izleyiciye etkileri saptanmak i\u00e7in \u00f6rneklem olu\u015fturulan orta stat\u00fcdeki sosyo- k\u00fclt\u00fcrel \u00f6zellikteki izleyiciler ile odak grup g\u00f6r\u00fc\u015fmeler yap\u0131lm\u0131\u015ft\u0131r. Televizyonun izleyicilerin d\u00fcnya alg\u0131lamalar\u0131 ve sosyal ger\u00e7eklik kavramla\u015ft\u0131rmalar\u0131 \u00fczerindeki rol\u00fc \u015fiddet \u00f6zelinde ortaya konmaya \u00e7al\u0131\u015f\u0131lacakt\u0131r.<\/p>\n<p><strong><em>Anahtar Kelimeler:<\/em><\/strong><em> \u015eiddet, Televizyon, Amerikan Men\u015feli Yabanc\u0131 Diziler, Gen\u00e7lik, Mutlu \u015eiddet<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>THE REASONS FOR THE VIOLENCE POPULARITY IN TV SERIALS<\/strong><\/p>\n<p><strong>ABSTRACT<\/strong><\/p>\n<p>The factors of violence, used on TV, have characteristic of a mediatic feature not only in our days but also throughout history of television. Although people are in the various educational and cultural level, violence, actually everything contains extremism, attracts the attention of audiences. Factors of the violence, featured in lot of TV serials are used either for getting reaction and drawing interest of audience or for selling these TV serials to other countries easily. In this study, factors of the violence is being researched. in what aspects influence the audience and the reasons why violence is especially used in American TV serials In this research, George Gerbner\u2019s \u201cCultural Indicators Project\u201d\u2019, \u201cMethod and Analyses of Message\u201d components and \u201cHappy Violence Theory\u201d are analysed. \u201cAnalysis of Message System\u201d is practised via <em>Dexter<\/em> 5. Season (2010), <em>Spartacus Blood and Sand<\/em> 1. Season (2010) and <em>The<\/em> <em>Walking Dead<\/em> 1. Season (2011). These TV serials have highest ratings in the world from the point of violence dosage. The reason why these TV serials\u2019 only one seasons are analysed is because George Gerbner also used limited suggestions for his resaerch on his theory and modal. CNBC- e and TNT are chosen to be the channel examples due to the fact that these channels are broadcasting American serials; furthermore, these channels are popular and frequently watched ones and their web sites are used by a lot of foreign audiences. In this work, primarily literature research, message system analysis, qualitative data collection method are used (Focus Group). During the research, factors of violence in American serials were studied whether affective on audience or not and how they have influenced audiences.. Throught the research, the effectiveness of the audiences by these serials is examined. For this reason, American oriented serial films are chosen as examples so as to analyse how violence is used and how much it effects the real lives of the audiences. The focus group interviews are done according to these standarts by the middle class socio- cultural audiences. In this survey, Role of Television on audience\u2019s world perception and conceptualisation of social reality is put forward in the context of violence.<\/p>\n<p><strong><em>Keywords: <\/em><\/strong><em>Violence, Television, American Origin Foreign Series, Youth, Happy Violence<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>TAM MET\u0130N<br \/>\n<\/strong><\/p>\n<p><a href=\"http:\/\/yenimedya.aydin.edu.tr\/wp-content\/uploads\/2018\/01\/ejnm_v02i1103.pdf\">PDF<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>KAYNAKLAR<\/strong><\/p>\n<p><em>Balaban, A.(2002).Televizyon \u00c7ocuk Programlar\u0131n\u0131n Kalite Kriterlerine \u0130li\u015fkin Olarak Okul \u00d6ncesi Kurumlar\u0131na Devam Eden \u00c7ocuklar\u0131n Anne- Babalar\u0131n\u0131n G\u00f6r\u00fc\u015fleri, Marmara \u00dcni., E\u011fitim Bilimleri Enstit\u00fcs\u00fc, \u0130lk\u00f6\u011fretim Ana Bilim Dal\u0131 Okul \u00d6ncesi \u00d6\u011fretmenli\u011fi Bilim Dal\u0131, Y\u00fcksek Lisans Tezi, \u0130stanbul,46.<\/em><\/p>\n<p><em>Ba\u015fal, H.A.(1999). 3-6 Ya\u015f \u00c7ocuklar\u0131n G\u00fcnl\u00fck Ya\u015famlar\u0131nda \u201cTelevizyon\u201d ve \u201cTelevizyon\u201d ile \u0130lgili Ana- Baba G\u00f6r\u00fc\u015fleri, \u0130leti\u015fim Ortamlar\u0131nda \u00c7ocuk Birey Sempozyumu Bildiriler Kitab\u0131, Eski\u015fehir 13\/15 Nisan 1999, Anadolu \u00dcniversitesi \u0130leti\u015fim Bilimleri Fak\u00fcltesi, Anadolu \u00dcniversitesi Yay\u0131n No: 1172, \u0130leti\u015fim Fak\u00fcltesi Yay\u0131n No: 35, 215-241. <\/em><\/p>\n<p><em>Berkowitz, Leonard.(1990). On the Formation and Regulation of Anger and Aggression: A Cognitive \u2013Neoassociationistic Analysis. American Psychologist. Vol. 45(4), Apr, 494-503.<\/em><\/p>\n<p><em>Bulgu, N.(1995). Kitle \u0130leti\u015fim Ara\u00e7lar\u0131n\u0131n Toplumsal Yap\u0131ya Olumsuz Etkileri- Sapma Davran\u0131\u015flar\u0131, Hacettepe \u00dcniversitesi, Sosyal Bilimler Enstit\u00fcs\u00fc, Doktora Tezi, Ankara,25.<\/em><\/p>\n<p><em>\u00c7\u00f6\u011f\u00fcn, M.(1997) Ekrandaki \u015eiddet G\u00f6r\u00fcnt\u00fclerinin \u00c7ocuk \u00dczerindeki K\u00f6t\u00fc Etkileri, \u0130stanbul \u00dcniversitesi Adli T\u0131p Entit\u00fcs\u00fc, Sosyal Bilimler Anabilim Dal\u0131, Y\u00fcksek Lisans Tezi, \u0130stanbul.76.<\/em><\/p>\n<p><em>Douglass, D.(1995). T.V. Violence and the Child. New York: Russel Sage Foundation, 1977 Media Violence, AAP Committee on Communications, in Pediatrics, Vol. 95, No. 6. June. <a href=\"http:\/\/ccp.ucla.edu\/Webreport95\/history%20.htm\">http:\/\/ccp.ucla.edu\/Webreport95\/history .htm<\/a> , 3-10.<\/em><\/p>\n<p><em>Freud, Sigmund. \u00c7ev. James Rowland. (2010) Civilization and Its Discontents: (paperback) USA: Martino Publishing: Mansfield Centre.201-205. <\/em><\/p>\n<p><em>Gerbner, George. (2002).On Content Analysis and Critical Research in Mass Communication. Against Mainstream, ed. By Michael Morgan, New York, Peter Lang.61-78. <\/em><\/p>\n<p><em>Gerbner, George ve Lary Gross (1976). Living with Television: The Violence Profile\u201d, Journal of Communication, 26(2).173-199.<\/em><\/p>\n<p><em>Gerbner, George.(2000). Telling All the Stories (collected essays) NewYork: Peter Lang Publishing, inc. In press, out in August.125- 128.<\/em><\/p>\n<p><em>Gerbner, George. (1998)Violence and Terror in the Media: An Annotated Bibliography. With Nancy Signorieli. Westport, CT: Greenwood Press.152. <\/em><\/p>\n<p><em>Gerbner\u2019s General Model (2004). <a href=\"http:\/\/cultsock.ndirect.co.uk\/MUHome\/cshtml\/\">http:\/\/cultsock.ndirect.co.uk\/MUHome\/cshtml\/<\/a>, 8 Ocak. <\/em><\/p>\n<p><em>Kalin, C., Television, Violence, and Children, Media Literacy Review, Eri\u015fim Adresi:<a href=\"http:\/\/interact.uoregon.edu\/MediaLit\/mlr\/readings\/articles\/kalin.html\">http:\/\/interact.uoregon.edu\/MediaLit\/mlr\/readings\/articles\/kalin.html<\/a> 09.04.2004. <\/em><\/p>\n<p><em>Kebap\u00e7\u0131, A.R.(2001) Televizyon Ana Haber B\u00fcltenlerinde \u015eiddet Olgusu, Marmara \u00dcni., Sosyal Bilimler Enstit\u00fcs\u00fc, Radyo Televizyon ve Sinema Anabilim Dal\u0131, Y\u00fcksek Lisans Tezi, \u0130stanbul.38-43.<\/em><\/p>\n<p><em>Kocada\u015f, B.(2002) G\u00f6rsel Medya ve \u015eiddet K\u00fclt\u00fcr\u00fc (Orta\u00f6\u011fretim \u00c7a\u011f\u0131 Gen\u00e7li\u011finin \u015eiddet E\u011filiminde G\u00f6rsel Medyan\u0131n Etkisi), \u0130n\u00f6n\u00fc \u00dcni., Sosyal Bilimler Enstit\u00fcs\u00fc, Sosyoloji Anabilim Dal\u0131, Doktora Tezi, Malatya.116- 122. <\/em><\/p>\n<p><em>Lometti, E. Guy (1995). \u201cThe Measurement of Televised Violence\u201d, Journal of Broadcasting and Electronic Media, 39(2).292-5.<\/em><\/p>\n<p><em>Lorenz, Konrad. On Aggression. Austria: Methven Publishing. 1966 (in Eng), s. 140. <\/em><\/p>\n<p><em>Morgan, Michael (1983). \u201cSymbolic Victimization and Real World Fear\u201d, Human Communication Research, 9.146-57.<\/em><\/p>\n<p><em>\u00d6n\u00fcr, N.(1999). Kentlile\u015fme S\u00fcrecinde Kitle \u0130leti\u015fim Ara\u00e7lar\u0131 ve \u00c7ocuk \u0130li\u015fkileri, \u0130leti\u015fim Ortamlar\u0131nda \u00c7ocuk Birey Sempozyumu Bildiriler Kitab\u0131, Eski\u015fehir 13\/15 Nisan 1999, Anadolu \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi, Anadolu \u00dcniversitesi Yay\u0131n No: 1172, \u0130leti\u015fim Fak\u00fcltesi Yay\u0131n No: 35.149-165. <\/em><\/p>\n<p><em>Say\u0131n, \u00d6.(1999). Aile Ortam\u0131nda Televizyonun \u00c7ocu\u011fun Toplumsalla\u015ft\u0131r\u0131lmas\u0131ndaki Tek Y\u00f6nl\u00fc Belirleyicili\u011fi, \u0130leti\u015fim Ortamlar\u0131nda \u00c7ocuk Birey Sempozyumu Bildiriler Kitab\u0131, Eski\u015fehir 13\/15 Nisan, Anadolu \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi, Anadolu \u00dcniversitesi Yay\u0131n No: 1172, \u0130leti\u015fim Fak\u00fcltesi Yay\u0131n No: 35.167-183. <\/em><\/p>\n<p><em>Sweet, D., Singh, R. (1994). \u201cTV Viewing and Parental Guidance.\u201d Education Consumer Guide. Eri\u015fim Adresi: <a href=\"http:\/\/inet.ed.gov\/pubs\/OR\/Consumer\/tv.html\">http:\/\/inet.ed.gov\/pubs\/OR\/Consumer\/tv.html<\/a>. Eri\u015fim Tarihi: 04.04.2004.12-16.<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>\u015e\u0130DDET \u0130\u00c7ER\u0130KL\u0130 D\u0130Z\u0130LER\u0130N POP\u00dcLER\u0130TE SEBEPLER\u0130 Nur Emine KO\u00c7 \u00d6Z\u00a0\u00a0\u00a0\u00a0\u00a0 \u015eiddet unsurunun ekranlarda kullan\u0131m\u0131 yaln\u0131zca g\u00fcn\u00fcm\u00fczde de\u011fil, televizyon tarihinden beri var olan ve s\u00fcre gelen medyatik bir \u00f6zellik&#8230; <\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-630","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/630"}],"collection":[{"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/comments?post=630"}],"version-history":[{"count":2,"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/630\/revisions"}],"predecessor-version":[{"id":705,"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/630\/revisions\/705"}],"wp:attachment":[{"href":"https:\/\/yenimedya.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/media?parent=630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}