Relevant bibliographies by topics / Eurovision Song Contest

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Eurovision Song Contest'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Eurovision Song Contest"

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Woods, Denise. "From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities." Media International Australia 175, no. 1 (February 19, 2020): 36–49. http://dx.doi.org/10.1177/1329878x20906535.

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Australia’s participation in the Eurovision Song Contest and involvement in the organisation of the Asian version of Eurovision (the Eurovision Asia Song Contest) through broadcaster SBS has been celebrated, questioned and criticised. In this article, I examine Australia’s role in the organisation of the Eurovision Asia Song Contest in the context of Australia’s relationship with the region, and what this reveals about Australia’s cultural identity and place in this Asia-Pacific region. If Eurovision was conceived as a post-war project to unify Europe, I argue that for the Eurovision Asia Song Contest to become a reality, it needs to have a framework that takes into account the region’s own historical, political and geo-political contexts rather than having a Eurocentric model imposed on it.
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Bolman, Filip. "The politics of power, pleasure and prayer in the Eurovision Song Contest." Muzikologija, no. 7 (2007): 39–67. http://dx.doi.org/10.2298/muz0707039b.

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Since the first annual Eurovision Song Contest in 1956, politics and popularity have intersected to influence the ways in which Eurovision songs have reflected the complex forms of European nationalism. With the Eurovision victory of Marija Serifovic?s ?Molitva? at the 52nd Eurovision in Helsinki the politics of regionalism and nationalism fully enveloped Southeastern Europe, creating the impression that old and new European alignments, from Habsburg nostalgia to an emerging Balkan brotherhood, overwhelmed the criteria that would otherwise mean that the grand prix would go to the best song. Taking Marija Serifovic?s ?Molitva? 2007 as a point of departure, this article examines the extremely complex set of networks that intersect at the Eurovision Song Contest and the national rituals and competitions that transform the power and pleasure driving European popular song in the twenty-first century.
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Wichmann, Brian. "The Eurovision song contest." Representation 25, no. 100 (September 1985): 29–30. http://dx.doi.org/10.1080/00344898508459370.

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Knyazkov, Dmitry Aleksandrovich. "Invectives as a linguistic manipulation in the song discourse (on the example of compositions from “Eurovision” song contest)." Litera, no. 8 (August 2020): 98–105. http://dx.doi.org/10.25136/2409-8698.2020.8.33536.

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The subject of this research is the abusive language (invectives) prohibited by the rules of the International Song Contest “Eurovision”. The goal consists in substantiating the role of obscene language as a linguistic manipulation in song discourse of “Eurovision” contest. The tabooed words and expressions represent a wide array of lexical units for research by modern linguistic science based on the materials of various voice compositions. Using the lyrics of songs that participated in “Eurovision” and made top 10 chart, the author determined those that contain invectives. The scientific novelty consists in the first ever analysis of song lyrics that contained the lexical units of abusive language prohibited by the rules of “Eurovision”. It was determined that the compositions of multimodal discourse contain various invectives in verbal component. The authors of songs for “Eurovision” apply different linguistic manipulations to influence the live voting and ensure a spot in the finals for their composition. This is directly related to increase in the number of participating countries; therefore, the structure and content of verbal component of a musical-poetic composition of Eurovision plays an important role. Despite the prohibition by rules of the context to use tabooed lexicon in song lyrics, the author was able to identify certain violations in the English-language and Italian-language compositions. The conclusion is made that invectives in the song discourse are effective linguistic manipulations that enhance suggestive semantics of speech act, since all compositions made it to the top 10.
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Yair, Gad. "Douze point: Eurovisions and Euro-Divisions in the Eurovision Song Contest – Review of two decades of research." European Journal of Cultural Studies 22, no. 5-6 (June 26, 2018): 1013–29. http://dx.doi.org/10.1177/1367549418776562.

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The Eurovision Song Contest is an annual international competition held by the European Broadcasting Union. The present article provides an updated review of the academic literature devoted to the study of the Eurovision Song Contest which in the past two decades developed into a serious and rich academic field with four main areas: (1) studies of imagining a unified Europe – wherein I review research devoted to cosmopolitan European visions and nation branding; (2) studies focusing on gender and what is often referenced as gay or ‘camp’ features in the Eurovision Song Contest; (3) studies of Euro-Divisions which focus on political bloc voting and cultural alliances – exposing consistent and persistent rifts and coalitions in the celebration of European unity; and (4) studies making use of Eurovision data as a cultural seismograph for explaining external phenomenon like economic trade and political conflicts. Two decades of study of the Eurovision reveal that the ideal of unity is persistently challenged by national and cultural commitments. While commentators often deem the Eurovision Song Contest to be a silly kitsch show of musical mediocrity, this review proves it to be an appealing and productive area for the serious study of European civilization and its discontents.
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Stockemer, Daniel, André Blais, Filip Kostelka, and Chris Chhim. "Voting in the Eurovision Song Contest." Politics 38, no. 4 (December 4, 2017): 428–42. http://dx.doi.org/10.1177/0263395717737887.

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The Eurovision Song Contest is not only the largest song contest worldwide but also probably the world’s largest election for a non-political office. In this article, we are interested in the voting behaviour of Eurovision viewers. Do they vote sincerely, strategically according to rational choice assumptions (i.e. for the song they believe will be the likely winner) or for another song? Using data from a large-scale survey carried out in Europe, we find interesting voting patterns with regard to these questions. Roughly one-fourth of the survey participants would vote for either their preferred song or for the song they think will win. However, the percentage of strategic voters is lower (11%). In contrast, many individuals (i.e. 36% of participants) would vote for another song, one that is neither their preferred song, the likely winner, nor a rational choice. The reasoning behind these remaining votes may include neighbourhood voting, ethnic voting, and voting for one’s favourite European country.
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Grönholm, Pertti. "Belgium, one point." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (April 26, 2021): 33–54. http://dx.doi.org/10.23994/lk.107815.

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Kirjoittaja tutkii artikkelissaan kahta Belgian Eurovision laulukilpailuun lähettämää kappaletta, osallistujaa ja esitystä. Telex-yhtyeen ”Euro-Vision” (Haag 1980) ja Pas de deux -ryhmän ”Rendezvous” (München 1983) olivat omana aikanaan poikkeuksellisen hämmentäviä, ironisoivia ja provosoivia esityksiä. Kumpikin jäi finaalissa kolmanneksi viimeiseksi.Telex ja Pas de deux pyrkivät haastamaan sekä Euroviisujen audiovisuaalisia ja musiikillisia konventioita että kilpailun arvoja ja ihanteita. Kummassakin esityksessä oli myös kansallinen kontekstinsa, sillä Belgian euroviisumenestys oli jäänyt heikohkoksi koko kilpailun olemassaolon ajan, mikä ilmeni rohkeina kokeiluina 1980-luvun alussa. Yhtyeet rakensivat esityksensä elektronisten rytmien, äänten ja soitinten varaan. Telex esitti kappaleensa taustanauhan ja taustalaulajien kera, Pas de deux väritti sointiaan Eurovisio-orkesterin muusikoiden kanssa sekä tavattomaksi koetulla koreografiallaan. Molemmat yhtyeet toivat lavalle joukon elektronisia soittimia.Kirjoittaja analysoi kilpailukappaleita ja esityksiä osana 1980-luvun alussa tapahtunutta elektronisten soundien ja soittimien nousua populaarimusiikin valtavirtaan ja sitä, miten musiikillisista marginaaleista ponnistaneet yhtyeet tietoisesti pyrkivät koettelemaan kilpailun rajoja ja euroviisuyleisön vastaanottokykyä. Elektroniset soittimet ja niistä kumpuava äänellinen, visuaalinen ja rakenteellinen estetiikka olivat aikanaan radikaaleja irtiottoja Euroviisujen kaltaisen televisiospektaakkelin loihtimista tunnelmista ja mielikuvista. Huolimatta heikosta menestyksestä kumpikin esitys on saanut myöhemmin huomattavasti enemmän arvostusta osakseen.Avainsanat: Eurovision laulukilpailu, Telex, Pas de Deux, elektroninen musiikki, musiikkiteknologiat, Belgia Belgium, one point. Synthesizers, irony, and provocation in Eurovision Song Contest in 1980 and 1983In his article, the author examines two songs, participants and performances submitted by Belgium to the Eurovision Song Contest. In the early 1980s, Telex’s “Euro-Vision” (The Hague 1980) and Pas de Deux’s “Rendezvous” (Munich 1983) were both exceptionally confusing, ironical, and provocative performances. They both finished third last in the finals.These unusual performances sought to challenge the audio-visual and musical conventions of the ESC and even the values and ideals of the competition. Both songs also had their own national context, as the success of Belgium in the ESC had remained rather weak throughout the existence of the competition. The bad experiences turned into bold experiments in the early 1980s. Telex and Pas de deux built their performances on electronic rhythms, sounds and instruments. Telex performed their song with a backing tape and backing vocals, but Pas de Deux coloured their sound with the musicians of the Eurovision Orchestra and an unconventional choreography. Both groups brought a number of electronic instruments on the stage.The author analyses the songs and the performances in connection with the rise of electronic sounds and instruments into the mainstream of pop in the early 1980s and asks how the bands emerging from the musical margins consciously sought to test the limits of the competition and the receptivity of the Eurovision audience. At their time, the electronic instruments and the resulting aural, visual, and structural aesthetics were radical detachments from the moods and imaginations conjured up by a television spectacle like the ESC. Despite their poor success, these performances have since then received much more appreciation.Keywords: Eurovision Song Contest, Telex, Pas de Deux, electronic music, music technology, Belgium
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Rosenberg, Tiina. "Rising Like the Eurovision Song Contest." lambda nordica 25, no. 2 (October 26, 2020): 93–113. http://dx.doi.org/10.34041/ln.v25.676.

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The 2020 Eurovision Song Contest (ESC) was cancelled due to the COVID-19 pandemic. However, the ESC is still shining after more than half a century and even now seems relevant for its audiences. In the ESC, queer interaction and togetherness are based on a combination of kitsch and camp, an aesthetic style and sensibility that aficionados regard as appealing because of its ironic, overthe-top challenging of the norms of ‘good behavior’ and ‘good taste.’ Nonetheless, it may seem strange that the ESC, a post-war European peace utopia and mainstream music event, is identified to such a degree as queer today, and the question remains whether the ESC can be of interest to dykes and feminists. This essay, therefore, revisits the notions of kitsch and camp as queer communication strategies. It closes with a reflection on the contest’s arbitrary notions of Europe, its troubled geopolitics, and its radically extroverted playing with taste taboos as pleasurable entertainment.
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Bjørner, Thomas. "Jeg havde ikke stemt, hvis jeg havde siddet alene: En receptionsanalyse af sms-deltagelsen til det europæiske Melodi Grand Prix [I wouldn’t have voted if I was sitting alone: A reception analysis of SMS voting during the Eurovision Song Contest]." MedieKultur: Journal of media and communication research 25, no. 47 (December 10, 2009): 12. http://dx.doi.org/10.7146/mediekultur.v25i47.1368.

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In this article the phenomenon of SMS TV in relation to the Eurovision Song Contest is described from a reception analysis perspective. The article describes how young viewers experience the structure of the Song Contest and the special social event of the TV programme, with its opportunities for interactive SMS voting. It is implied that the Eurovision Song Contest’s interactive opportunities entail a series of complex conditions, where the communication situation and the TV-show experience are important factors.
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GARCÍA, DAVID, and DORIAN TANASE. "MEASURING CULTURAL DYNAMICS THROUGH THE EUROVISION SONG CONTEST." Advances in Complex Systems 16, no. 08 (December 2013): 1350037. http://dx.doi.org/10.1142/s0219525913500379.

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Measuring culture and its dynamics through surveys has important limitations, but the emerging field of computational social science allows us to overcome them by analyzing large-scale datasets. In this paper, we study cultural dynamics through the votes in the Eurovision song contest, which are decided by a crowd-based scheme in which viewers vote through mobile phone messages. Taking into account asymmetries and imperfect perception of culture, we measure cultural relations among European countries in terms of cultural affinity. We propose the Friend-or-Foe coefficient, a metric to measure voting biases among participants of a Eurovision contest. We validate how this metric represents cultural affinity through its relation with known cultural distances, and through numerical analysis of biased Eurovision contests. We apply this metric to the historical set of Eurovision contests from 1975 to 2012, finding new patterns of stronger modularity than using votes alone. Furthermore, we define a measure of polarization that, when applied to empirical data, shows a sharp increase within EU countries during 2010 and 2011. We empirically validate the relation between this polarization and economic indicators in the EU, showing how political decisions influence both the economy and the way citizens relate to the culture of other EU members.
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Dissertations / Theses on the topic "Eurovision Song Contest"

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Engström, Julia. "Eurovision Song Contest Sång, dans och nationsmarknadsföring. En semiotisk analys av nationsmarknadsföring i Eurovision Song Contest." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23291.

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Syftet med denna uppsats är att undersöka hur nationer använder nationsmarknadsföring och narrativitet för att förmedla en särskild bild genom att nyttja Eurovision Song Contest som kommunikationsplattform. Undersökningen görs via en semiotisk analys som granskar utvalda visuella delar från tre nationer som agerat värd för evenemanget mellan åren 2009–2018. Resultatet av analysen visar på att nationerna följer olika narrativa spår som lyfter särskilda saker. I diskussionsavsnittet tas två olika hypoteser upp angående värdländernas nationsmarknadsföringar. Den ena är den kulturella hypotesen, alltså att värdlandets kulturella bakgrund präglar nationsmarknadsföringen. Den andra är den strategiska hypotesen som syftar till att värdlandet strategiskt väljer att använda särskilda narrativ utifrån exempelvis sin politiska situation. Diskussionen poängterar dock att andra faktorer kan ha inverkan på nationsmarknadsföringen, såsom huruvida nationen tidigare varit värdland i evenemanget.
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Wolther, Irving. "Der »Eurovision Song Contest«. Ein Musikwettbewerb als Mittel nationaler Repräsentation." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71804.

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Pajala, Mari. "Finlande: zero points? der Eurovision Song Contest in den finnischen Medien." Köln SAXA-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2932446&prov=M&dok_var=1&dok_ext=htm.

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Lindgren, Emilia, and Therese Blomqvist. "Hållbar Evenemangsutveckling : med inriktning på Eurovision Song Contest och Ishockey-VM." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12640.

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The study discusses sustainable development of events and the research displays that this is often connected to mega events or the work of specific destinations. The events Eurovision Song Contest and the Ice Hockey World Championships are therefore chosen because of their size, impact in both media and visitors and the lack of theory regarding their sustainability. The specific cases chosen are Eurovision in Malmö 2013 and Stockholm 2016, the 2013 Ice Hockey World Championship in Stockholm with help from the 2014 Junior Ice Hockey World Championship in Malmö. The purpose of this study is to analyze the host destinations and the national organization Swedish Ice Hockey Association’s work with sustainability regarding social, economic and ecological aspects and if and how that work impacts the host communities in the long run. Also, how the relationship with the head organizations who are the owners of the events, European Broadcasting Union (EBU) and the International Ice Hockey Federation (IIHF), functions regarding sustainability. This is examined by 11 qualitative semi-structured interviews with key individuals for both events which is then analyzed against what the research and literature points to regarding social, economic and ecological with a clear focus on sustainability.This study shows that the work with sustainability was very well conducted at Eurovision in both Malmö and Stockholm where Malmö even got the parts they were responsible for ISO-certified. The idea was also a part of the Worlds in Stockholm and the Junior Worlds in Malmö but there are opportunities for development. Particularly the question of how well the effects of the events hold up afterwards as there is no clear follow-up to initiatives and values discussed during the events. It is made clear that the focus on sustainability is foremost something insisted by the host destinations and in some part by the Swedish Ice Hockey Association as there is a lack of both focus and guidelines on the subject from the head organizations. A focus on sustainable events from the host destinations could be positive both during the bidding process and implementation as it contributes to a greater competitiveness. The initiative from public organizations such as host destinations and national sports organizations may be the driving force in pushing head organizations to be more sustainable. For a successful sustainable development of both events the entire organization, both the head organizations and the host destinations, behind these events needs to have the same perspective on sustainability and work towards the same goal. This study is written in Swedish.
Studien diskuterar hållbar utveckling av evenemang och forskningsöversikten visar att detta oftast kopplas till megaevent eller specifika destinationers arbete. Evenemangen Eurovision Song Contest och Ishockey-VM väljs därför ut i den här studien på grund av deras storlek, genomslag i både medier och besökare och bristen på teori gällande deras hållbarhet. Fallen som diskuteras är Eurovision som ägde rum i Malmö 2013 och i Stockholm 2016 och Ishockey-VM i Stockholm 2013 (A-VM) med hjälp av Junior-VM 2014 i Malmö. Syftet för studien är att analysera värddestinationernas och den nationella organisationen Svenska Ishockeyförbundets arbete med hållbarhet inom sociala, ekonomiska och ekologiska aspekter. Relationen med huvudorganisationerna och tillika ägare av evenemangen European Broadcasting Union (EBU) och Internationella Ishockeyförbundet (IIHF) undersöks också gällande deras arbete med hållbarhet. Studiens empiri samlas in genom 11 kvalitativa semistrukturerade intervjuer med nyckelpersoner för de båda evenemangen. Empirin analyseras sedan med hjälp av den forskning och litteratur som finns gällande social, ekonomisk och ekologisk hållbarhet.Studien visar att det arbetades väldigt bra med hållbarhet under Eurovision i både Malmö och Stockholm där Malmö Stad till och med ISO-certifierade alla delar de själva var ansvariga för. Tänket fanns även under A-VM i Stockholm och Junior-VM i Malmö men där finns det utvecklingsmöjligheter. Främst frågan om hur väl effekterna kvarstår efter evenemangen då det inte finns någon tydlig uppföljning på de initiativ och värderingar som diskuterades under själva eventen. Tydligt är dock att hållbarhetstänket i första hand är något som drivs av värddestinationerna och till viss del de nationella organisationerna. Det råder nämligen brist på både fokus och riktlinjer gällande hållbarhet hos de båda huvudorganisationerna. Hållbarhetsfokus på evenemang från värddestinationer kan vara positivt både under ansökning och genomförande då det bidrar till större konkurrenskraft. Initiativet från offentliga aktörer som värddestinationer och nationella sportorganisationer kan vara en drivande kraft i att uppmana huvudorganisationer till att arbeta mer hållbart. För en framgångsrik hållbar utveckling av de båda evenemangen behöver hela organisationen, både huvudorganisationerna och värddestinationerna, bakom de båda evenemangen ha samma perspektiv på hållbarhet och arbeta mot samma mål.
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Niklasson, Anton, and Matteus Hemström. "Twitter as the Second Channel." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-110877.

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People share a big part of their lives and opinions on platforms such as Facebook and Twitter. The companies behind these sites do their absolute best to collect as much data as possible. This data could be used to extract opinions in many different ways. Every company, organization or public person is probably curious on what is being said about them right now. There are also areas where opinions are related to the outcome of an event. Examples of such events are presidential elections or the Eurovision Song Contest. In these events, peoples’ votes will directly reflect the outcome of the elections or contests. We have developed a simplistic prototype that is able to predict the result of the Eurovision Song Contest using sentiment analysis on tweets. The prototype collects tweets about the event, performs sentiment analysis, and uses different filters to predict the ranks of the contestants. We evaluted our results with the actual voting results of the event and found a Pearson correlation of approximately 0.65. With more time and resources we believe that it is possible to create a highly accurate prediction model. It could be used in lots of different contexts. Politicians and their parties could use it to evaluate their campaigns. The press could use it to create more interesting news reports. Companies would be able to investigate their brand appreciation. A system like this could be used in many different fields.
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Wolther, Irving. ""Kampf der Kulturen" der Eurovision Song Contest als Mittel national-kultureller Repräsentation." Würzburg Königshausen und Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2803790&prov=M&dok_var=1&dok_ext=htm.

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Meijer, Albert. "Be My Guest: Nation branding and national representation in the Eurovision Song Contest." Thesis, Uppsala universitet, Teologiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-208098.

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Since its inception in 1956, the EurovisionSong Contest has been a stage for national representation and an opportunityfor countries to brand themselves. The 2012 Eurovision Song Contest in Baku,Azerbaijan is a prime example of nation branding, both for the host country aswell as the participating countries. Hosting the event gives a country the opportunity to present a specific nation brand, but there are other opportunities for those countries which only have a three-minute time-frame for their performance in presenting a national image. These performances are themain subject of this thesis, which main question is: How do nation-states use the Eurovision Song Contest as a means of nation branding?            To answer this question, I use three sub-questions. First, I focus on the concept of identity: how does musical performance represent national and European identity in the context of the Eurovision Song Contest? Secondly, I study the translation of national identity into an image that should appeal to all of Europe, by creating a specific nation brand: how do nations use nation branding through culture as a tool to build an appealing image within the context of Eurovision? Lastly, I study the performance of these nation brands in specific cases during the 2012 Eurovision Song Contest: how is a nation-branded image performed in the Eurovision Song Contest?             The first two chapters of my thesis consist of an analysis of literature on identity and nation branding in combination with national representation in Eurovision. My third and last chapter consists of performance analyses of 2012 participants, focusing on performances from Romania, Russia, Ukraine and Montenegro, which in 2012 were some of the richest performances in terms of symbolism concerningnational representation.
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Jordan, Paul Thomas. "The Eurovision Song Contest : nation branding and nation building in Estonia and Ukraine." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2972/.

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Studies focussing on Europeanisation and in particular on the return to Europe of postcommunist states have come to the fore in political science research since the collapse of communism in Eastern Europe. The way in which many states of the former Eastern Bloc have engaged with European geopolitical power structures such as the European Union and Council of Europe has been well-documented. Europe is a contested construct and its boundaries are still subject to redefinition. This study examines issues of Europeanisation, national identity and nation branding through the lens of popular culture. In particular the role that events such as the Eurovision Song Contest (ESC) play in illuminating the more salient issues of European identity politics has until recently been an area which has lacked scholarly attention. Although the volume of literature on the event is steadily increasing, there has to date, been no in-depth study conducted on a Former Soviet Republic. This study aims to fill this gap. This thesis comprises a case study of the role of the Eurovision Song Contest in Estonia and Ukraine. The empirical findings highlight the contested nature of the construction of national identities in the post-Soviet region and in particular, this study has drawn out some of the more salient aspects of identity politics. By exploring these issues through the prism of the Eurovision Song Contest, I argue that the event is significant in terms of nation branding and image building, particularly in the context of the return to Europe of post-communist countries. The Eurovision Song Contest is often an event which is dismissed as musically and culturally inferior. However, this study shows that different nation states attribute different meanings to the ESC and as such there is a need to go beyond the dominant (western) view of the contest in order to explore the diversity of issues that this event illuminates in wider socio-political debates in Europe today.
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Andersson, Annika. "Kultur som en arena för identitetspolitik : En diskursanalys av internationella konflikter i Eurovision Song Contest." Thesis, Karlstads universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78576.

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The cultural event Eurovision Song Contest has shown signs to contain international conflicts where countries have not been able to keep them out of the competition, which has created a “spill over effect” on the event. This thesis has aimed to investigate why culture, in this case the Eurovision Song Contest, has become an arena for international identity politics, as the contest should be a depoliticised arena. The thesis has been studied as a case study and international conflicts have been investigated as the cases. The selected conflicts that are investigated in this thesis are the one´s between Russia and Ukraine, Armenia and Azerbaijan, as well as Israel, Lebanon and Palestine. The conservative LGBTQ-discussion has also been analysed as a fourth conflict. The study has been analysed from a discourse analysis and with the theoretical perspective of constructivism, which has been used as an explanatory theory. The selected empirical material mainly involve media reports related to the Eurovision Song Contest.  The analysis shows that the countries demonstrated a lack of mutual understanding of each other's interests, which the theory constructivism claims are a requirement for cooperation. The conflicts have arisen and appeared in different ways, but all of them have also been about fragmented identity perceptions. This has partly been an explanation of why conflicts have arisen in a cultural context such as the Eurovision Song Contest. The explanation on the LGBTQ-discussion has also been about different perceptions of identity and interests but it has mainly been about a new norm, where love can exist between the same sexes and where identities do not need to be defined based on just men and women. According to constructivism, this new norm will need time to be accepted and until it will belong to social constructs. Eastern Europe and Western Europe differ in this fact where Eastern Europe has not come as far in the development with the LGBTQ-discussion.
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Taulio, Lisa. "Könsstereotyper och makt i Eurovision Song Contest : En multimodal analys av de fyra senaste nordiska vinnarbidragen." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-57561.

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Syftet med denna studie är att analysera de fyra senaste nordiska vinnarbidragen i Eurovision Song Contest, för att se om det föreligger återkommande mönster, normativa könsstereotyper och hur makt uttrycks i tävlingen. Genom multimodala analyser av dessa bidrag med fokus på kön och makt, kommer följande frågeställningar att besvaras: Hur ser den multimodala gestaltningen ut inom de fyra senaste nordiska vinnarbidragen i Eurovision Song Contest? Samt: Hur representeras kvinnor respektive män i de olika bidragen? Som material för analyserna har Youtube-klipp på samtliga bidrag använts, där det multimediala har analyserats genom multimodala analyser. Efter dessa analyser blir sammanfattningen att det finns återkommande mönster och könsstereotyper inom ESC, där männen ofta tilldelas makt medan kvinnor i stället är den mer försumbara. Dessa mönster och stereotyper ser vi inte givetvis vid första inblicken av ett bidrag, utan genom att göra djupare multimodala analyser.
The primary aim of this study is to examine and analyze how different media (multimedia or mixed media) in the Eurovision Song Contest work togheter when combined. The expectation is to see if there are reocurring themes and patterns in the representation of the Nordic countries in the ESC with a main focus on gender bias and authority. Four different winning entries from the Eurovision Song Contest performed by the Nordic countries have been chosen and analyzed. The thesis in this essay is that there are patterns in the representation of different countries in the ESC, and that there also may occur stereotypical gender bias. Therefore the key questions have been the following: What does the multimodal impersonation of the latest four Nordic winners in the ESC look like? And: What does the representation of men and women look like? Youtube-videos have been used as material to analyse these performances by doing multimodal analyses. This study indicates that there are occuring gender bias and stereotypes in the ESC, and also reoccuring patterns in the representation of the Nordic countries as a geographical area. We can not see this by the first glimpse, but through deeper multiodal analyses.
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Books on the topic "Eurovision Song Contest"

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Walraven, Hans. Dinge-dong: Het Eurovisie Songfestival in de twintigste eeuw. Amsterdam: Forum, 2000.

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Dubin, Adam, Dean Vuletic, and Antonio Obregón. The Eurovision Song Contest as a Cultural Phenomenon. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003188933.

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Carniel, Jessica. Understanding the Eurovision Song Contest in Multicultural Australia. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02315-7.

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Feddersen, Jan. Merci, jury!: Die Geschichte des Grand Prix Eurovision de la chanson : Zahlen-Daten-Stories. Wien: Döcker, 2000.

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Kalman, Julie, Ben Wellings, and Keshia Jacotine, eds. Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9427-0.

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Dreyer, Clemens. Ein bisschen Wahnsinn: Wirklich alles zum Eurovision Song Contest. München: Kunstmann, 2011.

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Ehardt, Christine, Georg Vogt, and Wagner Florian. Eurovision Song Contest: Eine kleine Geschichte zwischen Körper, Geschlecht und Nation. Wien: Zaglossus, 2015.

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O'Connor, John Kennedy. Eurovision Song Contest: Das offizielle Buch zu 50 Jahren europaischer Popgeschichte. Bindlach: Gondrom, 2005.

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Feddersen, Jan. Ein Lied kann eine Brücke sein: Die deutsche und internationale Geschichte des Grand Prix Eurovision. Hamburg: Hoffmann und Campe, 2002.

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Galopim, Nuno. Eurovisão: Dos ABBA a Salvador Sobral : canções que contam a história da Europa. Lisboa: A Esfera dos Livros, 2018.

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Book chapters on the topic "Eurovision Song Contest"

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Vuletic, Dean. "Australia and the Eurovision Song Contest: A Historical Survey." In Eurovision and Australia, 17–32. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20058-9_2.

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Collins, Julie L., and Lorina Barker. "Indigenous Representation at the Eurovision Song Contest: A Quintessentially Australian Identity." In Eurovision and Australia, 57–74. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20058-9_4.

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Obregón, Antonio. "The Eurovision Song Contest: An Academic Phenomenon." In The Eurovision Song Contest as a Cultural Phenomenon, 18–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003188933-3.

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Vuletic, Dean. "The Balkans in the Eurovision Song Contest." In The Routledge Handbook of Popular Music and Politics of the Balkans, 91–102. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003328162-7.

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Raykoff, Ivan. "The Mythology of Song Contests." In The Eurovision Song Contest as a Cultural Phenomenon, 57–67. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003188933-6.

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Carniel, Jessica. "Part of the Party: Celebrating Eurovision Together." In Understanding the Eurovision Song Contest in Multicultural Australia, 45–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02315-7_4.

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Vuletic, Dean. "The Intervision Song Contest." In Music and Democracy, 141–56. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-006.

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During the Cold War, Eastern Bloc broadcasting organizations held the Intervision Song Contest (ISC) as an alternative to Western Europe's Eurovision Song Contest (ESC). Staged in Czechoslovakia and Poland between 1964 and 1980, the ISC has usually been depicted in the popular media as merely a belated, fleeting copy of the ESC, with the ISC's failure being a metaphor for the decline of the economic and political systems of communist party-led Eastern Europe. However, unlike with the ESC, there has been little academic research on the ISC. This chapter is based on archival sources from national and international broadcasting organizations, and focuses on the first series of the ISC in Czechoslovakia. It argues that the ISC was conceived by its organizers as a pan-European event that would promote cooperation between the Eastern and Western blocs, especially in the context of Khrushchev's Thaw and the cultural and political liberalization in Czechoslovakia that culminated in the Prague Spring. The ISC's organizers accordingly introduced innovations that made their contest more internationally open and commercial than the ESC. Furthermore, the staging of the ISC in Czechoslovakia underlined the limits of the Soviet Union's cultural and political influence over Eastern Europe and the role that geopolitics played in the power relations between states within the Eastern Bloc. The ISC was, then, not simply an imitation of the ESC, but rather a product of international political relations that tells us much about the aspirations that some Eastern European artists, politicians, and officials from record companies and television stations had for the democratization of their states.
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Kumpulainen, Iiro, Eemil Praks, Tenho Korhonen, Anqi Ni, Ville Rissanen, and Jouko Vankka. "Predicting Eurovision Song Contest Results Using Sentiment Analysis." In Communications in Computer and Information Science, 87–108. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59082-6_7.

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Perlinski, Michal. "Postsozialistische Ost-West-Stereotypen im Eurovision Song Contest." In Figurationen des Ostens, 371–90. Berlin: Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9164-8_20.

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Motschenbacher, Heiko. "The Communicative Setting of the Eurovision Song Contest." In Language, Normativity and Europeanisation, 13–50. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56301-9_2.

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Conference papers on the topic "Eurovision Song Contest"

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Demergis, Dimitri. "Predicting Eurovision Song Contest Results by Interpreting the Tweets of Eurovision Fans." In 2019 Sixth International Conference on Social Networks Analysis, Management and Security (SNAMS). IEEE, 2019. http://dx.doi.org/10.1109/snams.2019.8931875.

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Umair, Areeba, Elio Masciari, Giusi Madeo, and Muhammad Habib Ullah. "Applications of Majority Judgement for Winner Selection in Eurovision Song Contest." In IDEAS'22: International Database Engineered Applications Symposium. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3548785.3548791.

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Marletta, Andrea, Alessia Forciniti, and Magda Moretti. "The use of non-official data source for the analysis of public events: evidences from the Eurovision Song Contest 2022." In CARMA 2024 - 6th International Conference on Advanced Research Methods and Analytics. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/carma2024.2024.17824.

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The use of non-official data sources as Twitter has been implemented for the monitoring of social and public events in many different fields during last years. Following this issue, this work proposes to analyse a very well-known musical event, the Eurovision Song Contest (ESC) 2022 using tweets pooled by the official hashtag of the competition. From a methodological point of view, text mining techniques have been applied to detect the most influencing terms and topics tweeted by users during the show and to compare the official results of the contest with a ranking only based on the appreciation of the Twitter users on posts relative to the participant countries.
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Cremona, George. "POSSIBLE PEDAGOGIC EFFECTS OF THE JUNIOR EUROVISION SONG CONTEST ON PRE-SCHOOL LEARNING CONTEXTS: A CRITICAL MULTIMODAL EVALUATION." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.0465.

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