This study explores the transformation of production spaces from empty sound stages to standing sets, drawing on the findings from fieldwork involving 14 key players; studio owners and managers, screenwriters and art directors. The sets containing standing decors of hospital rooms, police stations, jails and courtrooms, transformed from abandoned factories, warehouses and administrative buildings in Istanbul, mostly lack proper infrastructure and appropriate security measures. Examining their transformation shows that the demanded and repeated storylines of the Turkish TV series also shape these locations and create a cheap and fast studio system based on supply and demand, putting creativity and security of the crews into question. The research also aims to contribute to the critical debate about the production studies focusing solely on the means of production and excluding the text and the audience, with showing the need for a more comprehensive approach. In order to apprehend the intertwined relationship between production, representation and consumption, this study examines the links between the formation of the production spaces, the content of the TV series and the ratings.

本研究利用涉及 14 位主要参与者的实地调查结果，探讨了制作空间从空旷的摄影棚到站立式布景的转变；工作室所有者和经理、编剧和艺术总监。这些布景包含医院病房、警察局、监狱和法庭的站立装饰，由伊斯坦布尔的废弃工厂、仓库和行政大楼改造而成，大多缺乏适当的基础设施和适当的安全措施。检查他们的转变表明，土耳其电视剧的要求和重复的故事情节也塑造了这些地点，并根据供需创建了一个廉价而快速的演播室系统，使工作人员的创造力和安全性受到质疑。该研究还旨在为关于生产研究的批判性辩论做出贡献，该研究仅关注生产方式，不包括文本和观众，表明需要更全面的方法。为了理解生产、再现和消费之间的相互交织关系，本研究考察了生产空间的形成、电视剧的内容和收视率之间的联系。