Dissertations / Theses: '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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Lager, Elin. "Symbolism, moralism och bojkotter : En teoriprövande fallstudie om Eurovision Song Contest som arena för internationell konflikt." Thesis, Linköpings universitet, Institutionen för ekonomisk och industriell utveckling, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-128096.

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The use of cultural boycotts motivated by international conflicts between countries or regions has long been observed within sports. However, so far it has not been studied in other context of international competition like the Eurovision Song Contest. This essay aims to evaluate if we can understand political actions like boycotts or political symbolism through existing theories regarding political symbolism. This case study has chosen three withdrawals during the 21th century, which have been made due to conflict with another competing country. The withdrawals studied are Lebanon in 2005, Georgia in 2009 and Armenia in 2012. Through the use of political symbolism and boycotts as a political mean the three cases have been studied and classified. The result shows that current theories regarding political symbolism can be applied to understand two out of the three cases. The Lebanese withdrawal can be understood as a classic political boycott against Israel and the Georgian withdrawal as protest against Russia and therefor a case of political symbolism. The Armenian withdrawal has been characterized as a different kind of political symbolism than previously has been observed within the field of study. This essay has chosen to identify the case of Armenia as morally motivated political symbolism.

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Matic, Sanja, and Marie Björlekvist. "Evenemang för en ökad attraktionskraft : En studie om Malmö stad, Eurovision Song Contest 2013 & Handbolls-VM 2011." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19710.

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Syftet med studien är att undersöka hur Malmö stad använder sig av evenemang för en ökad attraktionskraft. Studiens syfte och frågeställningar har besvarats genom intervjuer med Malmö stad, Malmö Turistbyrå, Tourism in Skåne och Event in Skåne. Insamlingen av empiri har utförts genom kvalitativa telefonintervjuer samt en kvalitativ mailintervju, alla dessa baserades på ett icke-sannolikhetsurval gällande urvalet av respondenter. Samtliga intervjuer har haft öppna frågor och varit semistrukturerade. Intervjufrågorna har utformats utifrån studiens frågeställningar och har anpassats efter respektive respondent. I studien har även en litteraturstudie genomförts utifrån tre rapporter med fokus på de effekter som uppstod genom Handbolls-VM 2011. Studiens teoretiska referensram utgår från förklaring av attraktionskraft, typer av evenemang, effekter av evenemang, evenemangsturism, samarbete och image. Undersökningen har strukturerats upp utefter de intervjuer och litteraturstudie som har gjorts. Gemensamma rubriker har skapats för att få en tydligare struktur och en röd tråd för att göra studien läsvänlig. Analysen har strukturerats upp utifrån studiens frågeställningar. Slutsatsen av studien är att Malmös attraktionskraft ökar genom evenemang då staden har ett bra utvecklat samarbete mellan stadens aktörer. Detta gör att staden skapar möjligheter för att arrangera fler attraktiva evenemang. Attraktionskraften ökar även genom att det finns en medvetenhet i staden när det gäller vilka positiva effekter evenemang kan bidra till, exempelvis att stärka stadens image, skapa en bättre gemenskap bland lokalbefolkningen och ett ökat besöksantal. Studien visar att både Handbolls-VM 2011 och Eurovision Song Contest 2013 har bidragit till ovanstående effekter.

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Sahlén, Magdalena. "I think we should have a group discussion about it : Konstruktioner av Sverige och svenskhet i Eurovision Song Contest." Thesis, Stockholms universitet, Etnologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180860.

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När Sverige är värdland för Eurovision Song Contest ges de en möjlighet att visa upp och presentera sitt land för en hel värld. Uppsatsens syfte är att undersöka hur föreställningar om Sverige och svenskhet konstrueras och reproduceras genom Eurovision Song Contest. Genom att titta på tv-sändningarna från ESC 2013 och 2016 då Sverige stod för värdskapet analyserar jag hur Sveriges självpresentation görs och hur talet om Sverige och svenskhet bidrar till en föreställd gemenskap inom landet. Föreställningar om Sverige och svenskhet konstrueras och reproduceras hela tiden i programmen men det görs inom ESC:s specifika kontext. I ESC finns en föreställning om ett enat och jämlikt Europa. Denna föreställning behöver hela tiden upprätthållas av värdlandet i sin självpresentation. Därför tilldelas Sverige ständigt dubbla roller där de både behöver vara särskiljande för att kunna sälja in sitt land, samtidigt som de måste vara enande för att upprätthålla föreställningen om ett enat Europa.

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Wångne, Nicole, and Anna Pustovoyt. "Vart tog musiken vägen? : En kvalitativ undersökning om hur ett evenemang kan användas som ett kommunikationsverktyg." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26973.

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Länder och städer lägger allt mer fokus på att arbeta med det egna varumärket och har därmed fått ett mer företagsliknande seende med medborgarna som konsumenter. Samtidigt använder de sig i allt större utsträckning av evenemang som ett marknadsföringsmedel. Evenemang av olika slag har på så viss blivit ett kraftfullt kommunikationsverktyg. Men ännu finns det inte tillräckligt med studier kring hur evenemang påverkar platsen eller platsens befolkning. Studiens huvudsyfte är att bidra med ökad förståelse för hur en plats kan kommunicera sitt varumärke genom ett evenemang som Eurovision Song Contest. Genom att analysera skapandet av 2013 års Eurovision koncept "We Are One" och se vilken typ av påverkan det kan ha på värdstaden. Studien baseras på kvalitativ forskning i form av halvstrukturerade intervjuer med personer som har insyn i årets svenska produktion av Eurovision Song Contest. Vår studie har ett varumärkesperspektiv på Eurovision Song Contest och utgår från teori om platsmarknadsföring med kringliggande teorier om varumärke och storytelling. Vårt resultat visar att Eurovision Song Contest är en mäktig kommunikationsplattform som värdlandet och värdstaden kan använda utifrån ett eget specifikt syfte. Syftet kopplas till det som platsen är i behov av att jobba med som t. ex ekonomi, näringslivet, mediabilden etc. Konceptet skapas med hjälp av storytelling metoden där varumärket framställs genom en berättelse, genom vilket det går att urskilja ett budskap värdlandet vill kommunicera. Vi kan konstatera att evenemang har en tendens att ge en kortsiktig effekt och för att arbeta mer långsiktigt krävs det att medborgaren får ta en större del i processen för att evenemanget ska skapa mervärde för platsen och dess medborgare. Slutligen kan vi se att oavsett värdland förblir Eurovision en säljande plattform, där kommande värdländer kommer att avgöra tävlingens utveckling och framtid.

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Holovko, Iryna. "Volunteering for the nation : Volunteering as a tool of nation branding during the Eurovision Song Contest 2017 in Ukraine." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35646.

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There have been a lot of studies dedicated to investigating nation branding as a set of political discourses and practices deploying analysis of objects of symbolic nature: logotypes, brand books, slogans and commercials. The present thesis aims to study nation branding as a form of communicative labour through investigating volunteering as a form of media work that is used as a tool of the nation branding campaign in Ukraine during the Eurovision Song Contest in 2017. By using the theoretical concepts of nation branding, values and motivations of free labour in media industries, the thesis analyses the role of volunteers in the nation branding campaign during ESC 2017, volunteering as a specific form of media work and the motivation tools employed by the organisers and volunteers themselves to make sense of their involvement in the event. The analysis suggests that the roles assigned to volunteers as bearers of the nation brand are of great importance but the volunteers’ understanding of this process is rather confused and blurred. Another point highlighted in the thesis is how is volunteering was organised in terms of training and motivation on the side of organisers and what kind of motivations were of the crucial significance to volunteers themselves.

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Jakobsson, Malin. "Welcome Europe." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27096.

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Denna uppsats har som syfte att undersöka samt analysera klipptekniker och kameraarbete genom en jämförelse mellan Eurovision Song Contest år 2000 respektive år 2016. Detta för att visa på hur kamera och klippning påverkar bidrags konstnärliga uttryck samt diskutera en eventuell utveckling. Barry Salts arbete angående kopplingen mellan datainsamling och filmstil appliceras på denna uppsats och ger den dess metodologi. En djupgående analys på utvalda bidrag genomförs utifrån en multimodal infallsvinkel. Detta för att förtydliga förhållandet mellan diskurs och produktion och därigenom ge uppsatsen en beskrivning av klipptekniker och kameraarbetes vikt i bidragens individualitet. Uppsatsens undersökning samt analys visar på en förändring under åren. Speciellt i vilka tekniker som används för att uttrycka bidragens konstnärliga faktorer men det som kvarstår är viljan att anpassa det visuella arbetet efter varje bidrags specifika egenskaper.

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Hallgren, Karin. "The branding of the "new Ukraine" : A media production study of the encoding/decoding of Europeanness during Eurovision Song Contest 2017." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35529.

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There are several studies observing the phenomenon of nation branding as political pursuits and as texts. However, the media are generally treated as neutral platforms in branding literature. Also, relatively little has been done to explore how the context of branding affects the level of text production, not least in relation to media events. Deploying a cultural approach, the present study suggests that the production of branding may be examined in terms of cultural codes (Hall, 1982) and dominant or preferred meanings (Hall, 1973/1992). The aim of this study is to explore processes of nation branding, as part of media events, from a media production perspective. This is done through observations of the encoding/decoding of the branding narrative of the Europeanness of Eurovision, as formula for a revised Ukrainian identity, in production and backstage processes of the event 2017. The material consists of qualitative interviews with five agents involved in the branding of Ukraine during Eurovision The analysis is based on the theoretical concepts of, firstly, Hall’s (1973/1992) model of encoding/decoding and, secondly, Ytreberg’s (1999) model for the analysis of text production. Hall emphasises the discursive aspects of audiences’ interpretations, but, with reference to Ytreberg’s idea of text production as a result of negotiated interpretations, it is argued that discursive aspects are just as significant for agents in the production process. Three cases are used to illuminate the tensions in the media production of the branding narrative: The encoding/decoding of a branding concept, of the relationship to Russia, and of a Ukrainian Europeanness. The tensions mainly occur between the agents in the professional position in relation to oppositional readings of the dominant code (Hall, 1973/1992). They can be understood as struggles over the preferred meaning (Hall, 1973/1992) of Ukraine’s Europeanness in the branding narrative, which are enacted in the media production. The two main strategies for negotiating the tensions regard the representation of the categories of time and space. However, I propose that the agents in the media production also perform a third strategy in relation to the tensions that arise, the detached strategy of professionalism, based in the frameworks of knowledge (Hall, 1973/1992) that the agents possess.

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Laufer, Gil, and Alexander Åblad. "Spirit in the Screen : The effect of CuePilot on the viewer's experience in live broadcasted music competitions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279486.

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The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.
Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

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Holmdahl, Sofia. "”Seriöst, det känns som att du har glömt genusanalysen?” : En kulturstudie av femininitet och respektabilitet i Melodifestivalen." Thesis, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-167825.

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Melodifestivalen är ett underhållningsprogram som ofta associeras med kvinnor trots att kvinnor inte numerärt är mer framgångsrika än män i tävlingen. Kvinnor tillåts inte heller ta lika mycket plats som män i Melodifestivalen. Masteruppsatsarbetets huvudsakliga syfte är att undersöka vilka former av femininitet som ges utrymme i Melodifestivalen mellan åren 2002 till 2016. Detta har gjorts genom en studie av sekvenser från de TV-sända finalerna av Melodifestivalen. Masteruppsatsarbetet beskriver olika femininiteter utifrån teorier om performativitet, femininitet och kulturella representationer. Detta leder fram till en slutsats som visar att kvinnor representeras i relation till sin kropp genom förväntade vackra utseenden medan män representeras i relation till sin hjärna med expertuttalanden. Fokuseringen på kvinnans utseende representeras dock på olika sätt och de olika formerna av femininitet kan kategoriseras in i kategorierna ”modern/frun”, ”väninnan”, ”divan” och det ”kvinnliga subjektet”. De olika kategorierna förhandlar med femininitetsnormer och respektabilitet på olika sätt där både reproducerande och subversiva handlingar ingår.

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Alves, Marta Daniela Godinho. ""All Aboard!" - A comunicação estratégica de Portugal na Eurovisão 2018." Master's thesis, 2020. http://hdl.handle.net/10362/106998.

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Esta dissertação pretende compreender a dimensão estratégica da promoção do território português durante o Eurovision Song Contest 2018. A edição 63º do festival decorreu em Lisboa. Pela primeira vez, Portugal recebeu o maior espetáculo de música a nível mundial. Partindo desta premissa, importa analisar que elementos e ferramentas foram utilizadas durante este megaevento, com o objetivo de promoção do país. Os eventos são um dos mecanismos de promoção e atratividade com mais eficácia a nível de marketing territorial. Ao longo desta dissertação iremos procurar compreender como as diferentes abrangências e dimensões dos eventos se interligam com o marketing de eventos e o marketing territorial. Por fim, iremos analisar o Festival Eurovisão da Canção 2018, focando o vídeo de abertura, onde se pretendeu transmitir uma imagem de Lisboa, como uma cidade moderna, onde a arte contemporânea se funde com a tradição. All Aboard!
The purpose of this dissertation is to understand the strategic dimension of the Portuguese territory promotion during the Eurovision Song Contest 2018. The 63rd edition of the festival took place in Lisbon. For the first time, Portugal received the biggest music show in the world. Based on this premise, it is important to analyse what elements and tools were used during this mega-event, as a way of promoting the country. Events are one of the promotions and attractiveness mechanisms most effective for territorial marketing. Throughout this dissertation, we search to understand how different event dimensions connect with event marketing and territorial marketing. Finally, we will look at the Eurovision Song Contest 2018, focusing on the opening video, where an attempt was made to convey an image of Lisbon, as a modern city, where contemporary art merges with tradition. All Aboard!

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Batista, Tiago Filipe Rodrigues. "A geopolítica e a votação no Festival Eurovisão da Canção: análise ao impacto da introdução do modelo misto de votação sobre fatores intrínsecos e extrínsecos ao certame musical europeu (2004-2015)." Master's thesis, 2016. http://hdl.handle.net/10071/12801.

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O Festival Eurovisão da Canção é um certame europeu que reúne desde os anos 50, a Europa em torno da música. Começou apenas com a participação de sete países, tendo aumentado a sua popularidade ao longo das décadas, alcançando os quarenta e três participantes em 2008. Atualmente, o Eurofestival é o maior certame de música no mundo, tendo a edição de 2016 registado uma audiência de 204 milhões de pessoas em todo o mundo. No entanto, apesar do principal objetivo da competição ser coroar a melhor canção da Europa, o Festival tem-se tornado durante os anos num evento com um grande grau de envolvimento político, sendo que a introdução do televoto como forma de atribuição dos votos só veio piorar a situação. Durante o sistema de televoto, a Europa Oriental “confiscou” o certame, levando ao protesto e ao boicote de alguns países da dita “Velha Europa”. Com o crescente descontentamento de alguns países, a organização decidiu remodelar o sistema de votação, reintroduzindo os jurados no modelo de votação, dando-lhes 50% da decisão. Era criado assim o sistema misto de votação, onde os votos atribuídos por cada país passariam a ser 50% através da escolha dos telespectadores e os outros 50% através da valoração de um jurado profissional. Para este estudo utilizam-se as votações dos países participantes no festival durante 12 edições, separando-as em dois períodos: de 2004 a 2009 (modelo de televoto) e de 2009 a 2015 (modelo misto de votação), sendo assim possível aferir o impacto da introdução do novo modelo de votação, comparativamente ao modelo de televoto. Através da análise foi possível verificar que apesar de tímido, o novo modelo de votação alterou as votações atribuídas e recebidas pelos vários blocos geopolíticos presentes no concurso, diminuído o impacto de fatores externos como a imigração sobre as votações, favorecendo principalmente os países do bloco Ocidental, que durante o modelo de televoto só colecionaram maus resultados. Para além disso foi também possível perceber que fatores internos ao espetáculo (ordem de atuação, intervalo) tem interferência no resultado final, tendo em alguns casos, o modelo misto ajudado a anular o seu efeito.
The Eurovision Song Contest is a European competition that unites all of Europe around music every year since the 50’s. It all started with the participation of only seven countries, having increased its popularity over decades until it gathered forty-three participants in 2008. Nowadays the Euro festival is the biggest music contest in the world, having registered 204 million viewers from around the globe in 2016. However, in spite the main goal of the competition being to pick out the best European song, the Festival has become over the years an event with a great deal of political involvement, more so with the introduction of tele voting as a new way of casting vote, that only made the political significance larger. During the tele voting system, Western Europe “confiscated” the contest, leading to protest and boycott of some of the members from the “Old Europe”. With the growing discontentment of some countries, the organization decided to remodel the voting system, reintroducing a jury formed by professionals of the industry and giving them 50% power of decision. It was thus created the mixed voting system where the votes given to each country represented 50% of the entire voting pole and jury vote represented the other 50%. For this study were taken in to consideration the votes from each participant country over the last 12 editions, separated in two periods: from 2004 to 2009 (tele voting system) and from 2009 to 2015 (mixed voting system). This way it allows us to understand the impact that the introduction of a new voting system had, in comparison with the old tele voting system. Through this analysis it is possible to verify that, although in a subtle way, the new voting system influenced the votes exchanged by the various geopolitical blocks represented in the competition. It diminished the impact of external factors, like immigration, over the votes, favouring especially the Western block which collected nothing but bad results during the tele voting system. Besides, it also allows us to understand which factors inherent to the show (running order, interval act etc.) interfere with the final result, having, in some cases, the mixed voting system helped to annul its’ effects.

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Pereira, Rita Alexandra. "O Festival da Eurovisão e o regulamento (a)político da canção." Master's thesis, 2018. http://hdl.handle.net/10362/50897.

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Esta dissertação tem como objectivo perceber de que forma o Grupo de Referência do Festival Eurovisão da Canção delibera relativamente às participações do século XXI que apresentam mensagens políticas. A partir da premissa de que o regulamento indica que nenhuma “letra, discurso, gestos de natureza política ou semelhante deve ser permitida” durante o Festival Eurovisão da Canção, neste trabalho tenta-se compreender em que casos a regra se aplica, se a implementação da regra é eficaz e se existe algum critério para avaliar se uma participação infringiu a regra. Para este efeito, recorreu-se a bibliografia académica sobre o Festival Eurovisão da Canção, autores da Etnomusicologia, História e Estudos Culturais, notícias da imprensa nacional e internacional e websites dedicados ao Festival, entrevistas com artistas nacionais e internacionais, personalidades ligadas ao universo eurovisivo e conferências sobre a temática com representantes da União Europeia de Radiodifusão e de várias emissoras nacionais.
This dissertation aims to understand the way which the Eurovision Song Contest's Group of Reference deliberates on the participations of the XXI century that present political messages. Considering that the rules indicate that "no lyrics, speeches, gestures of a political or similar nature shall be permitted" during the Eurovision Song Contest, in this work we try to understand in which cases the rules apply, if the implementação (implementation) of the rules is effective and if it exists any criteria to evaluate if a participation has violated this rule. For this effect, I resorted to academic bibliography about the Eurovision Song Contest, Etnomusicology, History and Cultural Studies authors, news from the international and national press and websites dedicated to the festival, interviews with national and international artists, personalities connected to the Eurovision universe and conferences about the thematic with representatives of several broadcasters as well as representatives of the European Broadcasting Union.

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Guerreiro, Cláudio Alexandre Viana. "Fandom no Festival Eurovisão da Canção: O caso do blogue ESCPortugal." Master's thesis, 2019. http://hdl.handle.net/10071/19126.

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O Festival Eurovisão da Canção é um dos poucos programas do mundo que se pode orgulhar de fazer parte do imaginário de várias gerações. Desde a sua criação, na década de 50 do século passado, que muitos são os fãs que acompanham continuadamente este concurso anual. A forma como as novas tecnologias ligadas aos media evoluíram até aos dias de hoje, em particular a internet, permitiu igualmente uma mudança nos comportamentos destes fãs e na forma como levaram adiante a sua cultura participativa. Esta dissertação irá focar-se nessa realidade, em particular no ESCPortugal, site nacional que se preocupa não só em informar toda esta comunidade de fãs, como também em proporcionar um espaço de discussão sobre as temáticas eurovisivas. Deste modo, pretende-se dar a conhecer a atividade desenvolvida por este blogue e perceber como é efetuada a comunicação e divisão de tarefas entre os seus elementos. Além disso, procurou-se perceber como é feita a interação com os restantes elementos da comunidade de fãs e quais as motivações que levaram os seus elementos a fazer parte deste projeto. Numa fase inicial, procurou-se efetuar um enquadramento teórico sobre fandom e cultura participativa, focando-se depois nas características da comunidade de fãs do Festival Eurovisão da Canção. Na segunda fase, procurou-se ir ao encontro dos objetivos estabelecidos, recorrendo à análise das entrevistas semiestruturadas efetuadas aos elementos da equipa do ESCPortugal. Verificou-se que este blogue não é apenas um espaço de divulgação noticiosa, mas é também um espaço online que fomenta a cultura participativa de toda a comunidade de fãs portuguesa. Apesar do seu carácter amador, o trabalho levado a cabo pela equipa do ESCPortugal aproxima-se cada vez mais das práticas dos meios de comunicação profissionalizados. Além da habitual cobertura noticiosa sobre esta temática, os bloggers deste site levam a cabo diversas atividades que contam com a participação de outros elementos desta comunidade de fãs.
The Eurovision Song Contest is one of the few television programmes in the world that can be proud to be part of the imagination of many generations. Since its creation in the 1950s, many fans have been continuously following this annual contest. The way new media-related technologies developed to this day, in particular the internet, also allowed a change in the behavior of these fans and the way they made their participatory culture. This dissertation will focus on this reality, in particular on ESCPortugal, a national site that is concerned not only with informing the entire fan community, but also in providing a space for discussion on Eurovision themes. Thus, it is intended to make known the work developed by this blog and to understand how the communication and division of tasks between its elements is made. In addition, it is intended to understand how the interaction with the other elements of the fan community is made and the motivations that led their elements to be part of this project. At an early stage, it was intended to provide a theoretical framework on fandom and participatory culture, then focusing on the characteristics of the Eurovision Song Contest fan community. In a second phase, it was sought to meet the established objectives, using the analysis of semi-structured interviews made to members of the ESCPortugal team. It was found that this blog is not only a news space, but also an online space that promotes the participatory culture of the entire Portuguese fan community. Despite being amateur, the work carried out by the ESCPortugal team is getting closer and closer to professional media practices. In addition to the usual news coverage on this topic, the bloggers of this site organize various activities that involve other members of this fan community.

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Dissertations / Theses on the topic 'Eurovision Song Contest'

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