Publication Date
2025
Document Type
Dissertation/Thesis
First Advisor
Semati, Mehdi
Degree Name
M.A. (Master of Arts)
Legacy Department
Department of Communication
Abstract
This research examines the reception of Turkish dramas (dizis) in Iran. The study addresses emotional and social behaviors and how they play a role in the marketability of these genres. Turkish dizis have been criticized for their repetition in the storyline, outrageous plots, and predictable character behavior, and yet they remain popular among Iranian audiences. This study places the popularity of within media flows and contra-flows (Thussu, 2006, 2007) as a way of establishing the success of Turkish dizis as a media flow from East to East, and to provide a challenge to discussions of media imperialism. Building from fandom studies (Jenkins, 1992; Booth, 2016; Gray, 2003) and theories of audience reception (Ang, 1985; Radway, 1984), the study describes an assortment of modes of viewing, pleasures and interpretations among Iranian audiences of dizis. Identifying audiences as “fans” and “non-fans” (Gray, 2003) engage dizis differently with regard to issues of emotional identification and social issues. Fans are involved and committed viewers who passionately follow the dizis, forming an emotional attachment to the characters and storylines. For fans, dizis offer an affective mode of pleasure (Ang, 1985) and present familiar representations of people’s relationships and families that reflect their own social contingencies. Fans integrate the dizis into their daily lives, as it is more than simply entertainment, but as an activity that offers emotional satisfaction and perspectives on social life. Non-fans are individuals who are not strictly fans of dizis but rather are casual viewers, who may experience their relationship with dizis from a distance. Non-fans may have watched an occasional episode, have learned about the events from other viewers such as family or friends, or have heard of key events, but do not follow these dramas passionately. The relationship that non-fans tend to have with dizis is often characterized by ambivalence---a draw to and estrangement from a dizi. Non-fans gain and express pleasure ironically (Ang, 2007), amusement, and entertainment value from the melodramatic and predictable plots of dizis yet choose to continue to watch episodes either as a matter of habit or curiosity. Through examining viewer practices, motivations, and emotional responses of fans and non-fans, the thesis provides a nuanced understanding of how Turkish dizis operate as transnational cultural texts. The thesis argues that the reason for the continued existence of dizis in Iran reveals not only the fascination with everyday relatable storylines but also shows how audiences negotiate cultural identity, social values, and emotional sensibilities in a globalized media landscape
Recommended Citation
Naderi Fasarani, Azin, "The Reception of Turkish Dramas in Iran" (2025). Graduate Research Theses & Dissertations. 8080.
https://huskiecommons.lib.niu.edu/allgraduate-thesesdissertations/8080
Extent
84 pages
Language
en
Publisher
Northern Illinois University
Rights Statement
In Copyright
Rights Statement 2
NIU theses are protected by copyright. They may be viewed from Huskie Commons for any purpose, but reproduction or distribution in any format is prohibited without the written permission of the authors.
Media Type
Text
