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Journal articles on the topic 'Eurovision Song Contest'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Bekcan, Umut, and Pınar Uz Hançarlı. "Evaluation of Eurovision Song Contest as a Cultural Impact Tool." Journal of History Culture and Art Research 10, no. 1 (March 31, 2021): 84–97. http://dx.doi.org/10.7596/taksad.v10i1.3009.

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In this study, three claims/arguments regarding the emergence and function of the Eurovision Song Contest were put forward and tried to be grounded. First, the contest emerged as a tool for Western Europe to influence Eastern Europe culturally in the Cold War but it didn’t become an ideological conflict area of East-West. Second, the contest functioned as a stage of expressing the political problems/situations that countries experience within themselves or with each other in the Cold War era and aftermath. Third, although Turkey took place in the Western Europe side in the Cold War, this contest made Turkey feel non-European while having a different identity. In this context, the subject is discussed from the historical perspective with the assumption that the subject of history is unique. The study focused primarily on the concept of the Cold War and the contest. Then, it was explained with the examples which political problems/situations different from the Cold War ideological conflict environment were brought up on the contest platform. Finally, it was emphasized that the contest contributed to “us vs them” dichotomy in Turkey against Europe, contrary to Eurovision’s aim to form/create a common European culture.

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12

Motschenbacher, Heiko. "A corpus linguistic study of the situatedness of English pop song lyrics." Corpora 11, no. 1 (April 2016): 1–28. http://dx.doi.org/10.3366/cor.2016.0083.

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This study uses corpus linguistic methods to investigate how the situatedness of pop song lyrics may affect their linguistic make-up. For this purpose, I compare a corpus of Eurovision lyrics (ESC-ENG) to a general pop lyrics corpus (G-Charts) which is used as a reference corpus. This is done to detect specificities of the Eurovision lyrics, which can be related to the contextual salience of Europeanness in the Eurovision Song Contest. The major focus is on semantic keyness analyses carried out with the help of Wmatrix. These analyses highlight semantic fields that occur unusually frequently or infrequently in the Eurovision lyrics in comparison to the general charts corpus. The semantic keyness analyses are further complemented by keyword analyses and a closer examination of lexical items within particular semantic fields. The results show that Eurovision lyrics construct a discursive world that differs in various respects from that of commercially successful pop songs.

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13

Pajala, Mari. "Laulukilpailusta show-kilpailuksi?" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (April 26, 2021): 9–32. http://dx.doi.org/10.23994/lk.107814.

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Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980, 1990 ja 2000 Eurovision laulukilpailuista, joita analysoimalla luon kuvan kilpailukappaleiden audiovisuaalisen esillepanon kehityksestä. Toiseksi käytän vuosien 2016–2019 Euroviisujen tuotantotietoja aineistona rakentaessani kuvaa laulukilpailun nykytuotannosta. Esitän, että euroviisuesityksille on aina pyritty rakentamaan kappaleen tyyliin sopiva visuaalinen ilme. Teknologinen kehitys ja kilpailun sääntömuutokset ovat kuitenkin mahdollistaneet entistä vaihtelevammat ja monimutkaisemmat esitykset. Suurimuotoisen tv-spektaakkelin rakentaminen edellyttää yhteistyötä eri maista tulevien ammattilaisten ja yritysten kesken, ja nykyiset Eurovision laulukilpailut ovatkin ylirajaisia tuotantoja. Samat televisioalan ammattilaiset ja yhtiöt osallistuvat kilpailun tuotantoon eri maissa. Lisäksi kansalliset delegaatiot palkkaavat ylirajaisesti työskenteleviä ammattilaisia suunnittelemaan kilpailuesityksiään. Eurovision laulukilpailun tuotantoon on myös muodostunut eräänlainen alueellinen hierarkia, jossa Pohjois-Eurooppa on johtavassa asemassa erityisesti Ruotsin television SVT:n ja ruotsalaisten ammattilaisten keskeisen roolin ansiosta.Avainsanat: Eurovision laulukilpailu, televisioestetiikka, televisiotuotanto, spektaakkeli, ylirajaisuus From a song contest to a show contest? The increasingly transnational production of television spectacle in the Eurovision Song ContestAlthough academic interest in the Eurovision Song Contest (ESC) has grown over the past two decades, research has only rarely focused on television aesthetics and television production. The article explores the common claim that the contemporary ESC places more and more emphasis on visual spectacle. The article asks, how has the audiovisual presentation of Eurovision entries developed over the course of the contest’s history, and how can we characterize the production of the contemporary ECS?The primary research material consists of, firstly, ESC broadcasts from 1960, 1970, 1980, 1990, and 2000. These are analysed to describe the historical development of the audiovisual presentation of Eurovision entries. Secondly, the article draws on production information for ESC 2016–2019 to gain an understanding of the scope of the contemporary production.The article argues that ESC producers have always aimed at creating visually varied performances that suit the style of each song. However, changes in technology and the contest’s rules have enabled increasingly complex performances. As a result, creating the contemporary ESC requires using creative and technical personnel across national borders, and many of the same television professionals and companies participate in the production year after year. Moreover, successful stage directors work transnationally, designing Eurovision performances for different countries. Thus, the ESC participates in a wider turn towards transnational production in European television culture. The transnational field of ESC production is not without hierarchies, as Northern Europe plays a central role in the development of the contest, thanks to strong input from Swedish television SVT and Swedish television professionals in particular.Keywords: Eurovision Song Contest, television aesthetics, television production, spectacle, transnational

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Aschauer, Wolfgang. "Eurovision Song Contest – Reflections from the Geographic Point of View." Geografické informácie 15, no. 1 (2011): 4–17. http://dx.doi.org/10.17846/gi.2011.15.1.4-17.

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15

King, David M. "Postwar Europe and the Eurovision Song Contest." Music Reference Services Quarterly 21, no. 4 (October 2, 2018): 230–31. http://dx.doi.org/10.1080/10588167.2018.1522889.

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16

Kaminsky, David. "Postwar Europe and the Eurovision Song Contest." Ethnomusicology 67, no. 3 (October 1, 2023): 479–81. http://dx.doi.org/10.5406/21567417.67.3.15.

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17

Kyriakidou, Maria, Michael Skey, Julie Uldam, and Patrick McCurdy. "Media events and cosmopolitan fandom: ‘Playful nationalism’ in the Eurovision Song Contest." International Journal of Cultural Studies 21, no. 6 (August 4, 2017): 603–18. http://dx.doi.org/10.1177/1367877917720238.

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Academic literature on media events is increasingly concerned with their global dimensions and the applicability of Dayan and Katz’s theoretical concept in a post-national context. This article contributes to this debate by exploring the Eurovision Song Contest (ESC) as a global media event. In particular, we employ a perspective from ‘inside the media event’, drawing upon empirical material collected during the 2014 Eurovision final in Copenhagen and focusing on the experiences of fans attending the contest. We argue that the ESC as a media event is experienced by its fans as a cosmopolitan space, open and diverse, whereas national belonging is expressed in a playful way tied to the overall visual aesthetics of the contest. However, the bounded and narrow character of participation render this cosmopolitan space rather limited.

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18

Ural, Haktan. "Turkishness on the stage: Affective nationalism in the Eurovision Song Contest." International Journal of Cultural Studies 22, no. 4 (December 20, 2018): 519–35. http://dx.doi.org/10.1177/1367877918820335.

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This study examines the Eurovision stage as a cultural space that cultivated an affective-discursive terrain forging Turkish national identity. It draws upon the media texts as a heuristic to examine how an image of ‘Turkishness’ was created and negotiated. Focusing in particular on four specific cases (Semiha Yankı in 1975, Çetin Alp in 1983, Şebnem Paker in 1997 and Sertab Erener in 2003), this study suggests that the Eurovision stage was a space where ‘Turkishness’ encountered an imagined ‘Europeanness’. In these cases, affective discourses gave meanings of national allegories of ‘Turkishness’ to performing bodies on the Eurovision stage. The affective registers generated a discursive formation shaping the contours of ‘Turkishness’ in relation to Europe. Yet these discourses did not generate fixed and stable meanings. In particular, the construction of national success was negotiated and contested in terms of the appropriateness of the national embodiment.

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19

Grous, Alexander. "Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956." European Journal of Communication 36, no. 4 (July 9, 2021): 424–28. http://dx.doi.org/10.1177/02673231211029594.

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Antipov, Evgeny A., and Elena B. Pokryshevskaya. "Order effects in the results of song contests: Evidence from the Eurovision and the New Wave." Judgment and Decision Making 12, no. 4 (July 2017): 415–19. http://dx.doi.org/10.1017/s1930297500006288.

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AbstractThe results of song contests offer a unique opportunity to analyze possible distortions arising from various biases in performance evaluations using observational data. In this study we investigate the influence of contestants’ order of appearance on their ranking. We found that, in the New Wave Song Contest, expert judgments were significantly influenced by the contestant’s running number, an exogenous factor that, being assigned randomly, clearly did not influence the output quality. We also found weaker statistical evidence of such an ordering effect in Eurovision Song Contest finals of 2009–2012.

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Honcharova, O. O., and I. V. Kovalchuk. "STRUCTURAL-SEMANTIC FEATURES OF EUROVISION SONG CONTEST SLOGANS." Lviv Philological Journal, no. 10 (2021): 25–32. http://dx.doi.org/10.32447/2663-340x-2021-10.4.

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22

Iglesias, Julien Danero. "Eurovision song contest and identity crisis in Moldova." Nationalities Papers 43, no. 2 (March 2015): 233–47. http://dx.doi.org/10.1080/00905992.2014.993957.

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The Eurovision Song Contest (ESC) was created for strengthening the development of a European soul. But generally speaking, one can say it has been used as a tool for nation-branding, and as a means for Central and Eastern countries to “return” to Europe, in particular after the fall of their Communist regimes. In the difficult social, economic, political, and historical context of the Republic of Moldova nowadays, the ESC furthermore allows the discursive construction of the nation and the building of a particularself.Accordingly, based on a method inspired by the Critical Discourse Analysis methodology applied to three local newspapers, the research demonstrates how the ESC acts as a sound box when building the Moldovanself.The Moldovan identity that emerges from the articles seems to be an identity in crisis which proves much different from the usual political constructions of the nation. This bottom-up identity put forward by journalists has indeed to be related to the twofold crisis in which Moldova is at the moment: social and economic, on the one hand, and linked to a permanent struggle between a separate Moldovan or an integrated Romanian identity, on the other.

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23

Piotrowska, Anna G. "The Eurovision Song Contest – A Continent (still) Divided?" Journal of Historical Sociology 33, no. 3 (September 2020): 371–88. http://dx.doi.org/10.1111/johs.12285.

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24

Baker, Catherine. "The ‘gay Olympics’? The Eurovision Song Contest and the politics of LGBT/European belonging." European Journal of International Relations 23, no. 1 (July 24, 2016): 97–121. http://dx.doi.org/10.1177/1354066116633278.

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The politics of gay and transgender visibility and representation at the Eurovision Song Contest, an annual televised popular music festival presented to viewers as a contest between European nations, show that processes of interest to Queer International Relations do not just involve states or even international institutions; national and transnational popular geopolitics over ‘lesbian, gay, bisexual and transgender rights’ and ‘Europeanness’ equally constitute the understandings of ‘the international’ with which Queer International Relations is concerned. Building on Cynthia Weber’s reading the persona of the 2014 Eurovision winner Conchita Wurst with ‘queer intellectual curiosity’, this article demonstrates that Eurovision shifted from, in the late 1990s, an emerging site of gay and trans visibility to, by 2008–2014, part of a larger discursive circuit taking in international mega-events like the Olympics, international human-rights advocacy, Europe–Russia relations and the politics of state homophobia and transphobia. Contest organisers thus had to take positions — ranging from detachment to celebration — about ‘lesbian, gay, bisexual and transgender’ politics in host states and the Eurovision region. The construction of spatio-temporal hierarchies around attitudes to lesbian, gay, bisexual and transgender rights, however, revealed exclusions that corroborate other critical arguments on the reconfiguration of national and European identities around ‘lesbian, gay, bisexual and transgender equality’.

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Meizel, Katherine. "Empire of Song: Europe and Nation in the Eurovision Song Contest." Ethnomusicology Forum 24, no. 1 (January 21, 2015): 137–39. http://dx.doi.org/10.1080/17411912.2014.996911.

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Heinonen, Yrjö. "Euroviisuesityksen audiovisuaalinen rakentuminen." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (April 26, 2021): 55–72. http://dx.doi.org/10.23994/lk.107816.

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Eurovision laulukilpailu on muuttunut historiansa aikana kansallisten radio- ja tv-yhtiöiden välisestä sävellys- ja sanoituskilpailusta eri maiden ja niitä edustavien laulajien tai yhtyeiden väliseksi esiintymiskilpailuksi siten, että tapahtuman viihteellisyys ja kilpailullisuus on samalla lisääntynyt. Tarkastelen artikkelissani kolmen Suomea vuosina 1987–1993 kilpailussa edustaneen esityksen audiovisuaalista rakentumista erityisesti viihteellisyyden, kilpailullisuuden ja kansallisten piirteiden esiin tuomisen tai tuomatta jättämisen näkökulmasta.Analysoitavat esitykset ovat ”Sata salamaa” (Virve Rosti, 1987), ”La dolce vita” (Anneli Saaristo, 1989) ja ”Tule luo” (Katri Helena, 1993). Esitysten analyysissa kiinnitän huomiota musiikkiin (sävelmä, sovitus), sanoihin (laulun nimi ja sen sijoittelu, toisto ja äänteellinen kuviointi), näyttämöllepanoon (lavastus, valaistus, puvustus ja koreografia) sekä televisiointiin (monikamerakuvaus ja live-editointi). Analyysi nostaa esiin eroja ja yhtäläisyyksiä sekä esitysten audiovisuaalisessa rakentumisessa että niiden viihteellisyydessä, kilpailullisuudessa ja kansallisten piirteiden esiin tuomisessa.Avainsanat: Eurovision laulukilpailu, audiovisuaalinen analyysi, viihteellisyys, kilpailullisuus, kansallisuus Audiovisual Construction of a Eurovision Song Contest Performance: “Sata salamaa” (1987), “La dolce vita” (1989) and “Tule luo” (1993)During its history, the Eurovision Song Contest has changed from a songwriting competition between national radio and TV companies to a competition between singers or bands representing different countries, while the entertaining and competitive functions of the event have become more and more significant at the same time. In my article, I examine the audiovisual construction of three performances that represented Finland in the competition in 1987–1993, especially from the point of view of entertainingness, competitiveness, and the representation of national features.The performances to be analysed are “Sata salamaa” (Virve Rosti, 1987), “La Dolce Vita” (Anneli Saaristo, 1989) and “Tule luo” (Katri Helena, 1993). In the analysis, I pay attention to music (melody, arrangement), lyrics (song title and its placement, repetition, and phonetic patterning), staging (props, lighting, costume, and choreography), and telecasting (multi-camera shooting and live editing). The analysis highlights differences and similarities in the audiovisual structure of the performances as well as those regarding entertainment, competitiveness, and the representation of nationality.Keywords: Eurovision Song Contest, audiovisual analysis, entertainment, competitiveness, nationality

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Gustar, Andrew. "Eurovision voting: a game of two halves." Significance 20, no. 2 (March 30, 2023): 6–10. http://dx.doi.org/10.1093/jrssig/qmad022.

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Pyka, Marcus. "The power of violins and rose petals: The Eurovision Song Contest as an arena of European crisis." Journal of European Studies 49, no. 3-4 (August 12, 2019): 448–69. http://dx.doi.org/10.1177/0047244119859178.

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This paper explores the interconnection between European crises and the Eurovision Song Contest, the largest non-sports-related TV show on earth, which has run as an annual music competition of European countries since 1956. The paper explores the development of the actual show, based on existing audio and video recordings, as well as selected aspects of the respective media coverage. Special focus is paid to the creation of the contest in a post-catastrophic Europe, specifically the first show in Lugano in 1956; the apparent decline of the show’s appeal in Western Europe in the 1980s and 1990s; and finally the contest held in Moscow in 2009, when the global financial crisis had just reached Europe. This research shows that ‘crisis’ is less an objective state, but rather a rhetorical strategy to communicate one’s perceptions of the time, illuminating the significance of the Eurovision Song Contest as an arena for European affairs.

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Baker, Catherine. "Lion of Love." Historical Reflections/Réflexions Historiques 50, no. 2 (June 1, 2024): 61–76. http://dx.doi.org/10.3167/hrrh.2024.500205.

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Abstract Alexander Lemtov, the Russian antagonist of Netflix's 2020 musical comedy Eurovision Song Contest: The Story of Fire Saga, embodies and dramatizes contentions over Russian homophobia, disavowals of homosexuality in Russian entertainment, and the construction of LGBTQ+ equality as a defining value of ‘European’ space which have surrounded the real-life Eurovision Song Contest since the mid-2000s. An assertively-heterosexual sex symbol in public, Lemtov in private exemplifies the trope of the closeted gay entertainer whose performances of machismo allow him to hide his admiration for the male body in plain sight. His depiction could potentially open space for exploring how other queer male Russian entertainers have historically negotiated homophobia but is constrained within a liberal sexual geopolitics that demands further recontextualization following Russia's full-scale invasion of Ukraine.

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Rios, Ricardo Matos de Araújo. "Recovering audiovisual memory: the Eurovision Song Contest in Brazil." Scientific Journal of Applied Social and Clinical Science 1, no. 1 (December 10, 2021): 2–11. http://dx.doi.org/10.22533/at.ed.2162110121.

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Thurman, Kira. "Dean Vuletic. Postwar Europe and the Eurovision Song Contest." American Historical Review 125, no. 2 (April 1, 2020): 714–16. http://dx.doi.org/10.1093/ahr/rhz707.

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Ginsburgh, Victor, and Abdul G. Noury. "The Eurovision Song Contest. Is voting political or cultural?" European Journal of Political Economy 24, no. 1 (March 2008): 41–52. http://dx.doi.org/10.1016/j.ejpoleco.2007.05.004.

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Resche, Stéphane. "Dean Vuletic, Postwar Europe and the Eurovision Song Contest." Volume !, no. 16 : 1 (December 5, 2019): 179–82. http://dx.doi.org/10.4000/volume.7457.

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Lehn, Maja, and Izabella Garnett. "Køn, seksualitet og politik i Eurovision Song Contest 2007." Culture and History: Student Research Papers 6, no. 1 (January 2, 2022): 48–61. http://dx.doi.org/10.7146/chku.v6i1.129544.

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Denne artikel undersøger Serbiens positionering i Den Europæiske Union (EU) med udgangspunkt i Eurovision Song Contest (ESC) i 2007 og 2008, samt hvordan Serbiens deltagelse og sejr i ESC var med til at styrke muligheden for et EU-medlemskab efter landets selvstændighed i 2006. Artiklen argumenterer for, at Serbien i ESC fremstillede sig selv som et land, der delte politiske værdier med EU, for at øge sine chancer for et EU-medlemskab. Dernæst argumenterer artiklen for, at den serbiske sangerinde Marija Šerifovićs deltagelse og sejr i ESC og hendes virke som EU-ambassadør er blevet brugt til at signalere, at landet accepterer minoriteter. Artiklen viser, hvordan Šerifović bliver set som en Anden både gennem en politisering og et efterfølgende forsøg på afpolitisering af EU samt gennem hendes køn, etnicitet og diskursen om hendes formodede seksualitet.

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Wolther, Irving. "More than just music: the seven dimensions of the Eurovision Song Contest." Popular Music 31, no. 1 (January 2012): 165–71. http://dx.doi.org/10.1017/s0261143011000511.

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AbstractThe Eurovision Song Contest (ESC) is one of the most-watched entertainment programmes in Europe. Apparent national differences in using the show as an instrument for national-cultural representation can be explained by reducing its complexity to seven essential and interconnected ‘dimensions of meaning’.

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Krogh Petersen, Morten, and Carina Ren. "“Much More than a Song Contest”: Exploring Eurovision 2014 as Potlatch." Valuation Studies 3, no. 2 (December 11, 2015): 97–118. http://dx.doi.org/10.3384/vs.2001-5992.153297.

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As economic and budgetary scandals reached Danish front pages in 2014 over the Eurovision Song Contest (ESC) held that year in Copenhagen, many bystanders questioned the sense of the event, proclaiming it a massive waste of public money. In this article, we introduce the concept of “potlatch” to explore the valuation and values of this event, seeing it as a “total social phenomenon” in which more than merely economic matters are at stake. Framing Eurovision as a cross-sectoral innovation project, we show how a wide array of actors from the public and private sector collaboratively sought to turn the event into “much more than a song contest.” This “much more” is investigated by describing the partnering actors’ arduous work to create value through different project logics. Where other valuations of the event put little work into bringing forth values which transgress the realm of the economic and quantifiable, we argue that a more caring engagement enacts non-economic event outcomes usually made invisible or, at best, perceived as “intangible.”

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Budzinski, Oliver, and Julia Pannicke. "Culturally biased voting in the Eurovision Song Contest: Do national contests differ?" Journal of Cultural Economics 41, no. 4 (May 19, 2016): 343–78. http://dx.doi.org/10.1007/s10824-016-9277-6.

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HELLER, DANA. "t.A.T.u. You! Russia, the global politics of Eurovision, and lesbian pop." Popular Music 26, no. 2 (May 2007): 195–210. http://dx.doi.org/10.1017/s0261143007001237.

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AbstractThe author argues that the success of the Russian pop duo, t.A.T.u., and in particular their participation in the 2003 Eurovision Song Contest, is revealing of the multiple and contradictory ways in which Russia is currently engaging with concepts of the national and the international. Specifically, the essay considers t.A.T.u.’s performance of faux-lesbian pop eroticism as a productive flashpoint of East-West misreading and failed translation that might account for the pop duo’s very different reception in Russia and the West. The controversies and inconsistencies that have followed t.A.T.u are located in the larger context of ongoing debates over the redefinition of post-Soviet Russian national identity and Russia’s emerging role on the global pop cultural stage. From this perspective, it is argued, the t.A.T.u. phenomenon interfaces with aspects of both post-Soviet and international youth cultures, shifts in Russian attitudes toward gender, sexuality, and identity politics, and the contradictory commodification and transnational circulation of distinctive ‘European’ identities that is Eurovision’s stock and trade. Thus, a secondary question addressed by the author concerns the value of Eurovision itself as a subject suitable for serious scholarly engagement.

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Press-Barnathan, Galia, and Naama Lutz. "The multilevel identity politics of the 2019 Eurovision Song Contest." International Affairs 96, no. 3 (May 1, 2020): 729–48. http://dx.doi.org/10.1093/ia/iiaa004.

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Abstract This article uses the 2019 Eurovision Song Contest (ESC) that took place in Tel Aviv to explore how cultural mega-events serve both as political arenas and as tools for identity construction, negotiation and contestation. These processes of identity politics are all conducted across national–subnational–international–transnational levels. The hosting of mega-events fleshes out these multiple processes in a very strong manner. We first discuss the politics of hosting mega-events in general. We then examine the identity politics associated more specifically with the Eurovision Song Contest, before examining in depth the complex forms of identity politics emerging around the competition following the 2018 Israeli victory. We suggest that it is important to study together the multiple processes—domestic, international and transnational—of identity politics that take place around the competition, as they interact with each other. Consequently, we follow the various stakeholders involved at these different levels and their interactions. We examine the internal identity negotiation process in Israel surrounding the event, the critical actors debating how to use the stage to challenge the liberal, western, ‘normal’ identity Israel hoped to project in the contest and how other stakeholders (participating states, national broadcasting agencies, participating artists) reacted to them, and finally we examine the behaviour of the institution in charge, the European Broadcasting Union, and national governments. We contribute to the study of mega-events as fields of contestation, to the understanding of the complex, multilevel nature of national identity construction, negotiation and contestation in the current era, and more broadly to the role that popular culture plays in this context.

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Schweiger, Wolfgang, and Hans-Bernd Brosius. "Eurovision Song Contest – beeinflussen Nachrichtenfaktoren die Punktvergabe durch das Publikum?" Medien & Kommunikationswissenschaft 51, no. 2 (2003): 271–94. http://dx.doi.org/10.5771/1615-634x-2003-2-271.

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Yair, Gad, and Daniel Maman. "The Persistent Structure of Hegemony in the Eurovision Song Contest." Acta Sociologica 39, no. 3 (July 1996): 309–25. http://dx.doi.org/10.1177/000169939603900303.

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Mantzaris, Alexander V., Samuel R. Rein, and Alexander D. Hopkins. "Preference and neglect amongst countries in the Eurovision Song Contest." Journal of Computational Social Science 1, no. 2 (July 26, 2018): 377–90. http://dx.doi.org/10.1007/s42001-018-0020-2.

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43

Bohlman, Philip V. "Postwar Europe and the Eurovision Song Contest by Dean Vuletic." German Studies Review 42, no. 1 (2019): 178–80. http://dx.doi.org/10.1353/gsr.2019.0027.

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44

James, L. "The Tech Setting the Stage for the Eurovision Song Contest." Engineering & Technology 18, no. 4 (May 1, 2023): 90–98. http://dx.doi.org/10.1049/et.2023.0412.

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45

Maglov, Marija. "Musical Genre as an Indicator of the Unity in Diversity Concept: Case Study of the ESC’S Winning Song Hard Rock Hallelujah." AM Journal of Art and Media Studies, no. 10 (October 15, 2016): 59–65. http://dx.doi.org/10.25038/am.v0i10.134.

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In this paper, the author questions the role of musical genre presented on the Eurovision Song Contest in the context of the unity in diversity concept, recognized as one of the markers of European cultural identity. Interpretation of this concept in sociological theory is presented while arguing that it could be understood in the history of the contest. A broader view on genres presented in the first decades of the contest is offered, before focusing on a case study of Finland’s 2006 winning song. Although unusual in a purely musical sense in the context of the ESC, it is argued that this entry is more understandable when more determinants of performing European identity on the ESC stage are included in the interpretation, and that music serves as only one of those determinants and thus should be interpreted as cultural discoursive practice.

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46

Rios-Castano, Victoria, Stefan Handler, and Helena Wulff. "Book Reviews." Anthropological Journal of European Cultures 19, no. 1 (March 1, 2010): 146–51. http://dx.doi.org/10.3167/ajec.2010.190111.

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Cattell, M. and M. Schweitzer (2007) (eds), Women in Anthropology: Autobiographical Narratives and Social History (Oxford: Berg), 256 pp., Pb: £17.99, ISBN-13: 978-1-5987-4083-7.Marranci, G. (2008), The Anthropology of Islam (Oxford: Berg), 224 pp., Pb.: £17.99, ISBN-13: 978-1-8452-0285-9.Raykoff, I. and R. Tobin (2007) (eds), A Song for Europe: Popular Music and Politics in the Eurovision Song Contest (Aldershot: Ashgate), xxi+190 pp., Pb: £17.19, ISBN-13: 978-0-7546-5879-5.

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Stiernstedt, Fredrik, and Irina Golovko. "Volunteering as Media Work: The Case of the Eurovision Song Contest." Culture Unbound 11, no. 2 (September 17, 2019): 231–51. http://dx.doi.org/10.3384/cu.2000.1525.19112231.

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This article explores volunteering in relation to the Eurovision Song Contest (ESC), which took place in Stockholm in 2016 and in Kyiv in 2017, with the aim of shedding light on volunteering as a form of “media work”. Following from this, the article aims to problematize the theoretical concept of free labour and analyse the symbolic exchanges and currencies involved in employing a “free” labour force. Through interviews with volunteers, this article explores what volunteers at huge media events do, how their work is organized, and what motivates them. The empirical basis for this article is an interview study with volunteers and volunteer organizers of the ESC in Stockholm (May 2016) and in Kyiv (May 2017), complemented with a document analysis of volunteer guidebooks and organizational reports. The article shows that eventfulness is an essential part of what volunteer labour brings to an event such as the ESC. It is also a key element in the production of economic value: eventfulness is a currency that expresses the value of the event itself and is a key feature of place branding. Furthermore, eventfulness – along with the feeling of being a part of an event, of something bigger, as it unfolds in time – is a key feature of the motivation for the volunteers who contribute with unpaid labour. As such, eventfulness can also be understood as a form of currency or symbolic capital that forms the main remuneration or “wage” earned by volunteers at an event such as the ESC.

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Haan, Marco A., S. Gerhard Dijkstra, and Peter T. Dijkstra. "Expert Judgment Versus Public Opinion ? Evidence from the Eurovision Song Contest." Journal of Cultural Economics 29, no. 1 (February 2005): 59–78. http://dx.doi.org/10.1007/s10824-005-6830-0.

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49

Zamojska, Eva. "Naród, gender, popkultura. Nacjonalistyczne konstrukcje płci i seksualności w popkulturowej odsłonie." Kultura-Społeczeństwo-Edukacja 12, no. 2 (February 19, 2019): 361–78. http://dx.doi.org/10.14746/kse.2017.12.18.

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The paper is a short theoretical summary of relationships between the notions of nation, gender and sexuality in a nationalistic discourse. It is also an attempt at applying this knowledge for analyzing selected artifacts of pop culture. In the first part of the paper, theoretical and research findings on the constructs of gender and sexuality in a nationalistic discourse are presented. In the second part these findings are used for a discursive analysis of gender and sexuality constructs in selected songs / stage acts presented at the Eurovision Song Contest 2014 and a pastiche cover version of one of them.

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Verrier, Diarmuid B. "Evidence for the influence of the mere-exposure effect on voting in the Eurovision Song Contest." Judgment and Decision Making 7, no. 5 (September 2012): 639–43. http://dx.doi.org/10.1017/s1930297500006355.

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AbstractThe mere exposure, or familiarity, effect is the tendency for people to feel more positive about stimuli to which they have previously been exposed. The Eurovision Song Contest is a two-stage event, in which some contestants in the final will be more familiar to viewers than others. Thus, viewers’ voting is likely to be influenced by this effect. Previous work attempting to demonstrate this effect in this context has been unable to control for contestant quality. The current study, which used a novel procedure to analyse the way in which contestant countries distributed their points (a function of how viewers voted in those countries) between 2008 and 2011, showed that contestants did better if they previously appeared in a semifinal that was seen by voters. This is evidence that the mere exposure effect, alongside previously studied factors such as cultural and geographical closeness, influences the way viewers vote in the Eurovision.

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