1. Resurrection Ertuğrul, 2014-2021. [return to page 1]

2. Magnificent Century, 2011-2014.

3. Börü, 2018.

4. See for summary of events:
https://www.aljazeera.com/news/2022/7/15/turkeys-failed-coup-attempt-explainer

5. Osman, Wazhmah. Television and the Afghan Culture Wars: Brought to You by Foreigners, Warlords, and Activists.

6. Osman’s work draws our attention to the ideological underpinnings of media campaigns and their reliance on a relationship between informed citizenship and shifting local and global political paradigms. I argue this approach is critical when calling for an incorporation of the glocal in the reading of dizis. Osman’s work is particularly useful here, as Osman defines informed citizenship as a “capitalist cosmopolitanism that promotes consumerism.” (Osman.,199)

7. In these terms, a type can be defined as “societally extant traits presented exaggeratedly, not an individual but a collective representation, an all-encompassing relatability from all walks of society.” This implies that while a character exists in its singularity, a type is born independently from the events and relationships of the time it emerges. Yağız, Nebat. Türk Sinemasında Karakterler ve Tipler: Türk Sinemasının Türk Toplumuna Bakışı 1950-1975 Dönemi. 1st ed., İstanbul, İşaret Yayınları. 2009. 

8. Maktav, Hilmi. 2013. “Vatan, Millet, Sinema "Türk Sinemasında '68'liler Ve 12 Mart.", "Türk Sinemasında 12 Eylül." Türkiye Sinemasında Tarih ve Siyaset. İstanbul: Agora. 3-32, 48- 61, 61-73. 

9. According to the TDK (the official dictionary of the Turkish Language Association), the originally Arabic term can be defined as chieftain, chairman, or leader. In colloquial Turkish speech, the term is used to indicate respect and has also been used about political leaders and former presidents. Most commonly, the term has been used by supporters of President Erdoğan. “Reis.” Türk Dil Kurumu.

10. All translations and emphasis are mine unless stated otherwise.

11. Nişanyan Sözlük. 

12. See Çetin, Berfin Emre. The Paramilitary Hero On Turkish Television : a Case Study On Valley of the Wolves. 

13. See Maktav, Hilmi. 2013. “48- 61, 61-73.

14. Bhutto, Fatima. “How Turkey’s Soft Power Conquered Pakistan.” Foreign Policy, 2020. https://foreignpolicy.com/2020/09/05/ertugrul-turkey-dizi-soft-power-pakistan/.

15. Ünür, Ayşegül Kesirli, and Alexander Dhoest. "Genre, Globalisation and The Nation: The Case of Turkish Police Procedural TV Series.”

16. (Ibid.)

17. (Ibid.)

18. (Ibid., 152)

19. (Ibid., 218)

20. (Ibid.)

21. (Ibid., 219)

22. As cited in Smith, Robert Ian. " "Beam Me up, Ömer": Transnational Media Flow and the Cultural Politics of the Turkish Star Trek Remake." Velvet Light Trap. 61 (2008): 3-13. Web. 24 Nov. 2013.

23. (“Geleceğe Cüret Edin / Be Bold for the Future - a-Haber & TRT Presidential Referendum Ad.” YouTube, YouTube, 2017. https://www.youtube.com/watch?v=2WNswwLWqMg&feature=youtu.be. Translated by Josh Carney. [return to page 2]

24. Börü (dir. Can Emre and Can Özüduru, 2018)

25. Dağ (dir. Alper Çağlar, 2012) and Dağ II (dir. Alper Çağlar, 2016)

26. Börü 2039, 2021.

27. My emphasis and translation.

28. See Peter B. Golden, (1992), An Introduction to the History of the Turkic People, p. 137 and Ülkü (in Turkish). Türkiye Cumhuriyet Halk Partisi. 1937. p. 352.

29. See: Carney, Josh. "Re-Creating History and Recreating Publics: The Success and Failure of Recent Ottoman Costume Dramas in Turkish Media." European Journal of Turkish Studies, vol. 19, no. 19, 2014.

• Carney, Josh. “Projecting ‘New Turkey’ Deflecting the Coup: Squares, Screens, and Publics at Turkey’s ‘Democracy Watches.’” Media, culture & society. 41.1 (2019): 138–148. Web.
• Carney, Josh. “Resur(e)Recting a Spectacular Hero: Diriliş Ertuğrul, Necropolitics, and Popular Culture in Turkey.” Review of Middle East Studies, vol. 52, no. 1, 2018, pp. 93–114. JSTOR, https://www.jstor.org/stable/26478485. Accessed 9 July 2024.
• Carney, Josh. "ResurReaction: Competing Visions of Turkey's (Proto) Ottoman Past in Magnificent Century and Resurrection Ertugrul." Middle East Critique, vol. 28, no. 2, 2019/06//, pp. 101-120. ProQuest, https://proxy.library.upenn.edu/login?url=https://www.proquest.com/scholarly-journals/resurreaction-competing-visions-turkeys-proto/docview/2243475119/se-2, doi:https://doi.org/10.1080/19436149.2019.1599534.
• Carney, Josh. (2024). Extreme dizi-ness: stretching the bounds of genre in (New?) Turkish television.

30. Clauson, Gerard (1972). Etymological Dictionary of Pre-Thirteenth-Century Turkish. Oxford: Clarendon Press. ISBN 978-0-19-864112-4.

31. The slogan was uses prominently in during the Gezi Park Protests. Its origin is not known but the controversy surrounding this term is summarized below: https://tr.wikipedia.org/wiki/Mustafa_Kemal%27in_askerleriyiz#cite_note-7

32. (Maktav., 17).

33. The march is a popular staple of celebrations of Kemalist national sentiment, which evokes feelings of nationalism cultivated since the War of Independence. Also, a popular staple at millennial weddings I have attended. Millı̂ kültür, 3. cilt, 7. sayı. Kültür Bakanlığı. 1981. s. 252.

34. Ildir, Asli, and Ipek A Celik Rappas. “Netflix in Turkey: Localization and Audience Expectations from Video on Demand.” Convergence: the journal of research into new media technologies. 28.1 (2022): 255–271. Web.

35. (Ibid.,255)

36. (Ibid.,262)

37. (Ibid.)

38. (Ibid.)

39. Lobato, Ramon, Netflix Nations: The Geography of Digital Distribution. New York, NY:: New York University Press, 2019.

40. (Ibid., 11)

41. (Ibid.)

42. Nationalist citizenry writ large—and within the popular—requires a hierarchy amidst specific groups of bodies (geo-political or corporeal), subjectivities, sexualities; and their situatedness within the imagined and sometimes literalized geo-political boundaries. These boundaries ultimately come to predetermine where the Other (negative) and the citizen-self (positive) coincide.

43. Popularized by Marwan Kraidy and Omar Al-Ghazzi in 2013, Neo-Ottoman Cool has been the predominant metric which through Turkey’s transnational relationships have been filtered.

44. Öztürkmen, Arzu, and Richard Bauman. The Delight of Turkish Dizi: Memory, Genre and Politics of Television In Turkey. London: Seagull Books, 2022.

45. The elaboration of the term ‘Turkish’ is therefore closely related to the issue of content', which lies behind the global success of the dizi genre. ‘Turkey: Home of Content’, the slogan launched during the 2015 MIPCOM, recalled at the end this historical-geographical cultural legacy of Turkey, with all its complexities and cultural affinities shared by various regions and communities around the world. (Öztürkmen, 2022, 19)

46. See Essay citation here for more on the Ottomans and the Arab world. Alankus Sevda and Yanardagoglu Eylem, “Vacillation in Turkey’s Popular Global TV Exports: Toward a More Complex Understanding of Distribution,” International Journal of Communication

47. Alankuş Sevda and Yanardağoğlu Eylem, “Vacillation in Turkey’s Popular Global TV Exports: Toward a More Complex Understanding of Distribution,” International Journal of Communication

48. (Alankuş and Yanardağoğlu, 3620)