Ukraine og Rusland er to af de mest succesfulde lande i Eurovisionen, Det Europæiske Melodi Grand Prix. I dette årtusinde har Rusland vundet én gang og haft 14 top-10 placeringer ud af 19 mulige, ...mens Ukraine har vundet tre gange og haft 11 ud af 17 sange i top-10.
Siden Sovjetunionens opløsning har Eurovisionen været en af de få internationale arenaer, hvor de tidligere sovjetrepublikker kunne repræsentere deres nationale identiteter og vise deres tilhørsforhold til Europa. Samtidig har sangkonkurrencen været en symbolsk kampplads, hvor russisk og ukrainsk tv har sat postsovjetiske konflikter i spil i sange og sceneshows.
Denne artikel undersøger, hvordan ukrainsk og russisk tv har brugt Eurovisionen til at positionere sig i forhold til Europa og i forhold til hinanden. Den undersøger den politiske interesse, der er for Eurovisionen i Ukraine og Rusland, og den undersøger også, hvordan konkurrenceformatet og European Brodcasting Union (EBU) har bidraget til repræsentationen af postsovjetiske konflikter i det tv-show, der vises for seerne i Europa og i store dele af verden.
Cultural proximity and trade Felbermayr, Gabriel J.; Toubal, Farid
European economic review,
02/2010, Volume:
54, Issue:
2
Journal Article
Peer reviewed
Open access
Cultural proximity is an important determinant of bilateral trade volumes. However, empirical quantification and testing are difficult due to the elusiveness of the concept and lack of observability. ...This paper draws on bilateral score data from the Eurovision Song Contest, a very popular pan-European television show, to construct a measure of cultural proximity which varies over time and within country pairs, and that correlates strongly with conventional indicators. Within the framework of a theory-grounded gravity model, we show that our measure positively affects trade volumes even if controlling for standard measures of cultural proximity and bilateral fixed effects.
•Conceptually, we coin the concept of ‘recurrent events’.•Theoretically, we draw from resonance theory to conceptualize constellations of cultural change around recurrent events.•Methodologically, we ...construct a unique publicly available dataset of Eurovision lyrics and social beliefs data in 18 European countries between 1981 and 2021.•Empirically, we identify six different constellations of cultural change around Eurovision in regard to narratives about gender and sexual identity and national identity.
Sociologists usually conceptualize events as unexpected occurrences bringing about long-lasting transformations of social structures. Following this definition, most empirical studies of events focus on pre/post-measurement strategies. Yet not all events are unexpected (e.g., Eurovision, Oscar nominations, the Olympics). Moreover, pre/post-measurements cannot capture the temporality in which meaning-making processes unfold nor account for the overlap between various events. We address these shortcomings by introducing the concept of ‘recurrent events,’ defined as events occurring with regular and recurrent cadence, charging collective effervescence and anticipation among audiences. Drawing from resonance theory, we conceptualize constellations of cultural change happening around recurrent events. We provide an empirical proof-of-concept, focusing on the case of the Eurovision Song Contest. To do so, we build a unique dataset of Eurovision lyrics and public attitudes in 18 European countries between 1981 and 2021 to study the relationships between attitudes about sexual and gender identity and national identity and the corresponding narratives presented at Eurovision. Our findings complicate common assumptions about the duality of events, by highlighting six different configurations of cultural change. We demonstrate how the concept of recurrent events contributes to the literature on events, consider the theoretical and methodological implications, and provide recommendations for future research.
It is 1979 in Jerusalem. The 24th Eurovision Song Contest has just ended and the Belgian singer Micha Marah is furious. Her song “Hey Nana” was ranked eighteenth and finished last, tied with Austria. ...However Micha had warned the Belgian committee: she would have preferred to sing another song called “How it goes”, but might as well make the little Manneken pee in a violin. A controversy on the choice of the song to which is added a last place: all Belgium is in commotion. It will be necessary...
The Eurovision Song Contest is officially a non-political event but has nevertheless been a useful tool for participating nations’ public and cultural diplomacy strategies. While Eurovision’s ...diplomatic utility for states is subject to much scholarly attention, little attention has been paid to how fans and audiences participate actively in these processes as political agents and actors. Drawing upon the frameworks of public diplomacy and participatory culture, this article puts forth the portmanteau concept of ‘participatory diplomacy’ to explain and explore how Eurovision illuminates a particular intersection of public diplomacy and participatory culture wherein the audience actively participates in its cultural platform to shape its political message and meaning.
"I Don't Feel Hate" Barbara Hornberger
Persona Studies,
05/2024, Volume:
10, Issue:
1
Journal Article
Peer reviewed
Open access
In (media) popular music, “personas” are usually media personalities. They mainly appear in mass media. As the media landscape has changed over the last 150 years, so have the media appearances of ...these musician-personalities - from sheet music to radio, records, film, television, music videos and finally YouTube, Instagram and TikTok. Popular music is dominated by stars, media personalities who present a musical performance - but the way this performance is presented has varied historically. In “old” media, record companies had considerable power with regard to access to markets, but also regarding production, marketing and perpetuation of star images. This has changed dramatically with the rise of the internet and various social media platforms. Now potentially everyone has access, everyone can present oneself publicly, everyone can have his or her “15 minutes of fame” (Andy Warhol). The article describes these transformations to the principle of stardom using a case study: the creation of the German entry for the Eurovision Song Contest in Rotterdam 2021. The previously unknown singer Jendrik Sigwart talks about his application on TikTok and in particular about the production of a music video for it. His application on TikTok for one of Europe’s oldest TV events is an interesting moment in media history, in which old narrative strategies mix with new ones.
The Eurovision Song Contest is a popular TV singing competition held annually among country members of the European Broadcasting Union. In this competition, each member can be both contestant and ...jury, as it can participate with a song and/or vote for other countries’ tunes. During the years, the voting system has repeatedly been accused of being biased by tactical voting; votes would represent strategic interests rather than actual musical preferences of the voting countries. In this work, we develop a latent space model to investigate the presence of a latent structure underlying the exchange of votes. Focusing on the period from 1998 to 2015, we represent the vote exchange as a multivariate network: each edition is a network, where countries are the nodes and two countries are linked by an edge if one voted for the other. The different networks are taken to be independent replicates of a conditional Bernoulli distribution, with success probability specified as a function of a common latent space capturing the overall relationships among the countries. Proximity denotes similarity, and countries close in the latent space are more likely to exchange votes. If the exchange of votes depends on the similarity between countries, the quality of the competing songs might not be a relevant factor in the determination of the voting preferences, and this would suggest the presence of some bias. A Bayesian hierarchical modelling approach is employed to estimate the parameters, where the probability of a connection between any two countries is a function of their distance in the latent space, network-specific parameters and edge-specific covariates. The estimated latent space is found to be relevant in the determination of edge probabilities, however, the positions of the countries in such space only partially correspond to their actual geographical positions.
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