Child artists/actors, who were already in casting pools before the earthquake or highlighted geographically after the disaster, were moved to Istanbul under the promises of these scholarships and housing arrangements (the Foundation houses / KİPTAŞ line). Programs were broadcast centered around these children on channels like Beyaz TV. However, once the cameras turned off, the tracking and enforcement of these scholarships and promises were not maintained with the same determination due to systemic loopholes.
## Structural Summary
The media industry operates by utilizing casting mechanisms (such as the database pool outlined in 2022) that it keeps perpetually ready to keep its gears turning. As you correctly pointed out, artists are often not independent actors in this system; instead, they are figures deployed to the field and positioned “as if they are giving scholarships” in strict alignment with the rating strategies of media moguls and broadcasting boards.
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