Abstract:

Television dramas convey their narratives in the form of cinematic accounts based on cultural life, regarding social reality in mind. It is necessary to look at the general life of the society in order to read the discourse contained in a film narrative and to interpret how the viewer understands the discourse. Especially television plays an important role in the shaping and reproduction of social life. Especially television plays an important role in the shaping and reproduction of social life. Symbolically, it offers real people. In whatever form are Television dramas designed in whatever form they are and carry the traces of real life, so people and lifestyles are represented. This study deals with "Kaynanalar" which is considered as the first sitcom example which is one of the first Turkish television series. By examining the cultural background of socio-cultural change in Turkey in the 1970s, based on the design of A.J. Greimas' s Actantial Model, we will try to find an answer to how the index should be read as a tool. This study investigates how the melodrama, which is the dominant narrative form of Turkish cinema since the 1960s, has followed a developmental line in the TV series, as it expresses different forms of cultural communication, different identities and lifestyles spreading from television dramas. Melodrama in the study is treated as a system of naming the meaning and is used in Kaynanalar in the study of the focus of the two cultural backgrounds on the relationship between the cultural backgrounds. The study analyzes two traditionally different families in modern life designs connected with kinship ties and modernization designs and social separations and associations according to the Actantial Model of Greimas, which can be traced back to Structuralism method.

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