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Journal articles on the topic 'Eurovision'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Брезоева, Деница. "Евровизия – сцената на европейците". Терени, № 7 (18 червня 2025): 107–17. https://doi.org/10.60053/ter.2023.7.107-117.

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Библиография: “East vs West”. The Secret History of Eurovision. Dir. Stephen Oliver. BBC Worldwide. 2011. Writ. Stephen Oliver, Phil Craig. Contr. Paddy O’Connell, Lys Assia, Donald Sassoon, Katalin Miklossy, Thomas Schreiber, Nicole Hohloch et. al. Eurovision’s dirty secret Azerbaijan. Panorama. Rep. Paul Kenyon. Prod. Howard Brandburn. BBC One. 2012. Dr. Eurovision. Eurovision: It’s all political though isn’t it? BBC. 10.05.2013. Извлечено от: http://www.bbc.co.uk/blogs/eurovision/entries/18aa5cc2-0f94-3882-9c57-07fdec46dc5b Fricker, Karen. What Eurovision has taught us about Europe. Eurovis

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2

Cotton, Greg. "My heart has no colour: Lusotropicalism and Black Lusophone representation in the Eurovision Song Contest 1994 – 1996." TMG Journal for Media History 28, no. 1 (2025): 1–23. https://doi.org/10.18146/tmg.898.

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The Eurovision Song Contest states that ‘a rich history of promoting diversity [and] inclusivity’ is amongst its core values. Furthermore, the contest claims to able to ‘bridge differences and ignite a sense of shared community.’ Despite this, Catherine Baker notes in 2021 that Eurovision’s ‘shared community’ still celebrates a ‘Europe commonly, though wrongly, thought of as a historically white place.’ Throughout the 1990s Portugal sent several entries by Black performers (1994 and 1995) or celebrating a racially diverse Lusophone culture (Lucia Moniz’s O meu coração não tem cor, 1996). This

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3

Woods, Denise. "From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities." Media International Australia 175, no. 1 (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

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4

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 (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

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5

Grönholm, Pertti. "Belgium, one point." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (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 hei

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6

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. Ta

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7

Mustapić, Filip, and Krešmir Dabo. "Eurovision and Social Networks." Communication Management Review 9, no. 2 (2024): 48–75. https://doi.org/10.22522/cmr20240299.

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This study aims to analyze how Eurovision, as a major spectacle, is presented on social media through content analysis and a survey questionnaire. It examines the modes of social media communication related to Eurovision and investigates how this televised communication impacts its target audience. The research focuses on content analysis of the official profiles of the Eurovision Song Contest across digital platforms, including Facebook, Instagram, Twitter, and TikTok. Various aspects of communication are analyzed, such as post types and formats, levels of audience interactivity, and the prev

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8

Pajala, Mari. "Laulukilpailusta show-kilpailuksi?" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (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,

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9

Motschenbacher, Heiko. "A corpus linguistic study of the situatedness of English pop song lyrics." Corpora 11, no. 1 (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 o

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10

Valehov, V. "AN EXAMINATION OF LANGUAGES IN EUROVISION: THEIR IMPACT ON THE CONTEST'S EVOLUTION AND CULTURAL REPRESENTATION." Sciences of Europe, no. 152 (November 10, 2024): 30–33. https://doi.org/10.5281/zenodo.14063723.

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The article "An Examination of Languages in Eurovision: Their Impact on the Contest’s Evolution and Cultural Representation" explores the role of linguistic diversity in the Eurovision Song Contest (ESC). It highlights the evolution of language policies in the song contest and how language selection has become a key tool for cultural expression and identity representation. The paper studies the shift from national language performances to English dominance in the 2000s, reflecting the global music industry. However, recent years have seen a resurgence of performances in native languages.

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Everett, Cath. "Eurovision secures borders." Network Security 2004, no. 5 (2004): 3. http://dx.doi.org/10.1016/s1353-4858(04)00076-5.

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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 (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

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13

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

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14

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 &ldquo;Eurovision&rdquo;. The goal consists in substantiating the role of obscene language as a linguistic manipulation in song discourse of &ldquo;Eurovision&rdquo; 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 &ldquo;Eurovision&rdquo; and made top 10 chart, the author d

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Bukhareva, Arina, and Ludmila A. Kruglova. "Eurovision 2021 on the Websites of Russian TV Channels." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 4 (2022): 26–40. http://dx.doi.org/10.15826/izv1.2022.28.4.063.

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The article examines publications about the international music contest “Eurovision-2021”. The work contains a comprehensive analysis of more than a hundred publications of six Russian TV channels (Channel One, Russia 1, NTV, Muz-TV, Pyatnitsa, Yu) in 2021, an attempt is made to typify publications about Eurovision 2021, as well as a comparative analysis of this content on different channels is provided. The authors come to the conclusion that the international competition is more interesting for the federal “big three” than for youth entertainment channels, and the volume of publications, ton

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16

Cohen, Adrian, and Nicholas Frome. "The Eurovision Law Contest." Law and Financial Markets Review 2, no. 1 (2008): 32–35. http://dx.doi.org/10.1080/17521440.2008.11427937.

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Wichmann, Brian. "The Eurovision song contest." Representation 25, no. 100 (1985): 29–30. http://dx.doi.org/10.1080/00344898508459370.

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GARCÍA, DAVID, and DORIAN TANASE. "MEASURING CULTURAL DYNAMICS THROUGH THE EUROVISION SONG CONTEST." Advances in Complex Systems 16, no. 08 (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 v

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Baker, Catherine. "The ‘gay Olympics’? The Eurovision Song Contest and the politics of LGBT/European belonging." European Journal of International Relations 23, no. 1 (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

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20

Ural, Haktan. "Turkishness on the stage: Affective nationalism in the Eurovision Song Contest." International Journal of Cultural Studies 22, no. 4 (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 ‘Turkishne

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21

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 (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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Hammond, Paula. "Going for a song: Eurovision!" Child Care 5, no. 5 (2008): 18. http://dx.doi.org/10.12968/chca.2008.5.5.37498.

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23

Hennig, Benjamin D., Danny Dorling, and Dimitris Ballas. "Voting for Europe: Eurovision 2013." Political Insight 4, no. 2 (2013): 38. http://dx.doi.org/10.1111/2041-9066.12025.

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Heinonen, Yrjö. "Euroviisuesityksen audiovisuaalinen rakentuminen." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (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” (Vi

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Schoenberg, Alina M., Dimitrios G. Ierapetritis, Chiara Foramitti, and Christopher Schwand. "Economic and political dependencies in cultural voting: A gravity model analysis of Eurovision." Romanian Journal of Regional Science 19, no. 1 (2025): 1–19. https://doi.org/10.61225/rjrs.2025.01.

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This paper examines the factors shaping voting behaviour in the Eurovision Song Contest (ESC) by applying a gravity model to bilateral voting data from Grand Finals between 1995 and 2019. Using Poisson Pseudo-Maximum Likelihood (PPML) estimation this work analyses how non-ESC related factors such as economic ties, population size, migration, and geographic proximity, diplomatic and political ties affect voting behaviour in the participating countries. The findings highlight geopolitical, economic, and diasporic dynamics underlying Eurovision voting patterns and contribute to broader discussion

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Cremona, George. "The Eurovision University Study Unit and its pedagogic value: A critical evaluation of public and media reaction towards innovation in higher education." International Journal of Higher Education Pedagogies 3, no. 1 (2022): 13–23. http://dx.doi.org/10.33422/ijhep.v3i1.184.

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In 2016 the University of Malta launched a study unit called ‘Interpreting Music Culture: Multimodality and the Eurovision’. The course intended to serve as a first step through which higher education students would move away from looking at the Eurovision Song Contest annually attracting 161 million viewers around the globe as purely entertaining. Instead, the study unit aimed to help students critically analyse these music-related texts at deeper pedagogic levels. After a couple of minutes from the launch of the study unit, a widespread public reaction developed. The media and the general pu

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Baker, Catherine. "When Eurovision Came Out: LGBTQ+ Visibility and the Eurovision Song Contest in the “Queer 1990s”." QED: A Journal in GLBTQ Worldmaking 10, no. 3 (2023): 59–71. http://dx.doi.org/10.14321/qed.10.3.0059.

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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 (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 conte

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Pires, de Sá Fernanda, and Antoni Roig. "All aboard?! Co-viewing with and within connected platforms in the Eurovision Song Contest." Observatorio 14, no. 4 (2025): 78–97. https://doi.org/10.5281/zenodo.14774161.

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Based on co-viewing and connected viewing literature (Pires & Roig, 2016), this article analyses connected co-viewing practices within and with the use of media platforms around a live television event, using the Eurovision Song Contest as a case study. This popular event has a long-running tradition which has fostered extensive use of different kinds of connected platforms, including an official app. Using a case study approach and focusing on the Spanish context, we have analysed connected co-viewing in three main platforms: Facebook (through unofficial groups), Twitter (through live con

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Rosenberg, Tiina. "Rising Like the Eurovision Song Contest." lambda nordica 25, no. 2 (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

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GENÇ, Buket. "EUROVİSİON ŞARKI YARIŞMASI’NIN MÜZİK DIŞI BOYUTLARI." Yedi, no. 26 (July 31, 2021): 51–60. http://dx.doi.org/10.17484/yedi.925781.

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Stockemer, Daniel, André Blais, Filip Kostelka, and Chris Chhim. "Voting in the Eurovision Song Contest." Politics 38, no. 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 preferr

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Gutiérrez Lozano, Juan Francisco. "Spain Was Not Living a Celebration." Europe on and Behind the Screens 1, no. 2 (2012): 11. http://dx.doi.org/10.18146/2213-0969.2012.jethc014.

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Franco’s Dictatorship (1939-1975) used Spanish Television (TVE) as a key element in the political propaganda of its apparent ‘openness’ during the 1960s. The propaganda co-existed with political interest in showing the technological development of the media and the international co-operation established with other European broadcasters, mainly in the EBU. In a country ruled by strong political censorship, the Eurovision Song Contest was used as a political tool to show the most amiable image of the non-democratic regime. Spain’s only two Eurovision wins (1968 and 1969) are still, 50 years on,

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

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Šentevska, Irena. "Queer Celebrity: Marija Šerifović and National vs. Sexual Identity." Zeszyty Łużyckie 59, no. 1 (2023): 105–27. http://dx.doi.org/10.32798/zl.1087.

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The paper examines the media phenomenon of Marija Šerifović, Serbia’s Eurovision Song Contest winner, from two angles: 1) the political context of her success as a representative and cultural emissary of a newly-defined (post-Yugoslav) Serbian nation, and 2) the cultural context of communication of her sexual identity to a largely unsympathetic domestic audience. What makes this case interesting is the over-politicization of this communication: the initial conflict between Šerifović’s celebrity status of a “national heroine” and a (potentially) “queer outcast” has gradually changed in the publ

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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 (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 s

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Baker, Catherine. "Lion of Love." Historical Reflections/Réflexions Historiques 50, no. 2 (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 th

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Alekseeva, E. D. "SECRETARY VOTING AT THE EUROVISION SONG COMPETITION." EurasianUnionScientists 3, no. 56 (2018): 7–14. http://dx.doi.org/10.31618/esu.2413-9335.2018.3.56.7-14.

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Moser, Heinz. "Grand Prix Eurovision: Eine Fankultur im Medienzeitalter." Jahrbuch Medienpädagogik 2 2, Jahrbuch Medienpädagogik (2017): 165–75. http://dx.doi.org/10.21240/mpaed/retro/2017.06.12.x.

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Der Grand Prix Eurovision ist seit Jahrzehnten eine der bekanntesten Unterhaltungssendungen im europäischen Raum. Dennoch erregte es Verwunderung, wenn der Schreibende Bekannten darüber berichtete, daß dies ein Forschungsgegenstand sei. Wurde von Interviews mit Grand Prix-Fans erzählt, so fielen schnell Aussagen wie: „Wie kann man sich nur für so etwas Abseitiges und Triviales wie den Grand Prix interessieren“. Dennoch bin ich der Meinung, daß Fankulturen für die entstehende Mediengesellschaft ein nicht unwichtiges Forschungsthema darstellen. Zwar geht es nicht um eine medienpädagogische Frage

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40

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

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Altuğ, AKIN. ""Eurovision Şarkı Yarışması" üzerine monografik bir inceleme." İletişim: Araştırmaları Dergisi 8, no. 2 (2010): 115–32. http://dx.doi.org/10.1501/iltaras_0000000119.

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42

Clough, Paul, Mark Sanderson, and Norman Reid. "The Eurovision St Andrews collection of photographs." ACM SIGIR Forum 40, no. 1 (2006): 21–30. http://dx.doi.org/10.1145/1147197.1147199.

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

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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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Kobyakova, Anna I. "IMAGOLOGICAL ANALYSIS OF THE PROMOTION OF NATIONAL IMAGES (RUSSIA «EUROVISION» 2008)." Dynamics of Media Systems 4, no. 2 (2024): 67–75. https://doi.org/10.47475/2949-3390-2024-4-2-67-75.

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The article is devoted to an imagological analysis of Russia’s performance at the Eurovision Song Contest 2008, demonstrating how music, visual effects, costumes and other elements shaped the national image of the country on the international stage. Imagology is considered as a discipline that studies the perception of images of nations through media, culture and public communication. The article examines the concepts of stereotypes and images in the context of imagological research, emphasizing their role in creating the perception of another nationality. An example is the analysis of Dima Bi

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Cashman, Jordana. "The Cultural Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016." Claremont-UC Undergraduate Research Conference on the European Union 2017, no. 1 (2017): 45–58. http://dx.doi.org/10.5642/urceu.201701.06.

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Wolther, Irving. "More than just music: the seven dimensions of the Eurovision Song Contest." Popular Music 31, no. 1 (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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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 (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 1990

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García-Gámez, María, and Antonio Moreno-Ortiz. "The Politics of Eurovision: A Case Study of the United Kingdom’s 2021 and 2022 Participations as Expressed on Social Media." Revista de Lingüística y Lenguas Aplicadas 19 (July 8, 2024): 56–70. http://dx.doi.org/10.4995/rlyla.2024.19366.

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In recent years, the opinion that the Eurovision Song Contest has become highly politicised is prevalent in the media and the popular voice, although not much research exists that can attest to this claim. In this work we conduct a case study that applies sentiment and discourse analysis methodologies to the assessment of political opinions in social media regarding this artistic and social event. The main objective is to explore to what extent and in what form this supposed politicisation has an expression on Twitter, as illustrated by the cases of artists Sam Ryder and James Newman, the Unit

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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 (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

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