The formation of a TV GVC was decades in the making. At the core of the historical process lies the industry’s global shift, which began in the last two decades of the twentieth century (the end of the broadcasting age) and accelerated in the new millennium (towards the streaming era). Documenting the early part of this shift is the purpose of this chapter, which focuses on the broadcasting age and broadcasters in the streaming era, providing an overview of the growth of cross-border trade in finished programming (e.g. drama) and TV formats (adapted shows such as reality TV), and the formation of transnational TV networks. This chapter adopts a bird’s-eye view and concentrates on those aspects of the shift that are most apparent, restricting the analysis to the market-facing activities of lead firms and the industry’s consumer brands.

This chapter discusses the use of popular culture and the personality cult of Erdoğan in creating the desired citizens of Erdoğanism, the Homo Erdoğanistus. Media, entertainment and pop culture are used to raise the Erdoğanist generation. One of the influential tools of doing this is to manufacture and propagate the personality cult of Erdoğan via different narratives, acts, speeches, performances, emotional instances, movies and TV dramas. All these have been informed and guided by the Erdoğanist ideology. Also, via historical movies and dramas, socio-political reality is shaped to help the Erdoğanist political cause. This chapter discuss, first, Erdoğan’s personality cult and its propagation. Then it elaborates on Erdoğanist myth-making and the rewriting of history. This is followed by an analysis of how reality has been shaped by using movies and historical TV dramas. The chapter then focuses on Erdoğan’s open and direct support for these movies and dramas.

This chapter reports on research in a study abroad context at a UK university. It centres on the use of literature which has been dramatised on television (the popular TV series Sherlock) and how this can be harnessed to develop a greater awareness of typical features of spoken language – in this case the use of ellipsis. An experimental study was undertaken which compared the results of three groups: one receiving explicit instruction plus input enhancement (experimental group 1), one receiving explicit instruction only (experimental group 2) and a control group who received no instruction. Both treatment groups worked with three short extracts from Sherlock over three lessons and were given explicit instruction, comprehension tasks and exercises to raise awareness of several features of spoken language, including ellipsis, requesting and modality. The experimental groups received the same explicit teaching (here understood as the teacher making it clear to the students what the lesson focus was), but experimental group 1 also had their transcripts enhanced via textual enhancement to highlight the aforementioned features of spoken language. Results were measured using a comprehension test and a test which measured receptive knowledge of ellipsis in spoken language administered at a pre-, post- and delayed test stage, which was 3 weeks after the classes. In addition, six members of each experimental group took part in a focus group to discuss the extent to which participants found the classes helped to develop awareness of ellipsis and how useful and motivating they found the literature materials to be. Results show clear effects for instruction, with significant gains made over time on the receptive tests for experimental group 1 when compared to the control group. However, no significant difference between treatment types was shown in the post- and delayed tests. Focus groups indicated that participants found the dramatised literature materials to be motivating and useful, and they also reported some noticing of ellipsis in their contact with English outside class time.