Geniş Aile

genis-aile-dizi-cekimleri-basladiGeniş Aile is a Turkish sit-com which was on-screen between 2009 to 2011. The story mainly focused on Cevahir and his family. At the beginning of the series, Cevahir came from Germany in order to escape from troubles following him back there and find and marry his childhood love, Şükufe. However, while staying in Germany, Cevahir married in order to stay in there. Şükufe knew this, and because of that she was angry with him. Nevertheless, Cevahir wasn’t discouraged, during the first season, he continuously tried to impress her along with his arch rival, Koyu Bilal.

The series also concentrated on the lives of other family members. In general, none of them has an easy life, but they are all happy in the end. Here comes the first similarty between this show and Zeynep Güven’s article, the happiness of families which are actually poor. The family of Cevahir could hardly survive. The family consisted of seven people and its only incomes are the revenue of the small shop of Kuddusi, Cevahir’s father and retirement salaries of grandmother and grandfather of Cevahir. Even though they argue sometimes, in the end they are a happy family with strong family ties. Another example of Turkish television characteristics that Güven mentioned is “conservative father figures”. In series, Cevahir argued with his father a lot; to be more precise Kuddusi is the second, after Koyu Bilal. The main reason for it is that Kuddusi wanted Cevahir to be a chivalrous man who earns his money, but Cevahir was an idler. Kuddusi’s conservative attitude wasn’t only about Cevahir. It could be seen in family relations too. He was the only authority in the family who cannot be refused. Güven mentions this aspect too. In Turkish TV, father figure is the only authority figure while mother figure is more passive, more willing to accept the orders of father figure. This is also true for Geniş Aile. Although sometimes Muazzez, the mother clearly criticized Kuddusi, in general, she wasn’t irritated of the authority of Kuddusi.

Another Turkish TV stereotype that Güven mentiones is about rich families. Generally, rich families are portrayed as unhappy. This is true for Geniş Aile. In the series, Koyu Bilal’s family was the rich family. Even though there wasn’t a major problem between family members, there was a small amount of discontent between them. Mother of Koyu Bilal always wanted his son to marry and give her grandchildren. Bilal was eager to marry Şükufe, but he wasn’t enthusiastic about chidren. Topics like this created problems between Bilal and his mother. Their conversations generally ended with Bilal’s outbursts against his mother.

As a conclusion, like many other Turkish series, Geniş Aile reinforces the ideas that were introduced to audience by Zeynep Güven. Poor family is happier, father is more conservative and mother is more passive.

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