Results 11 to 20 of about 6,648 (251)

Eurovision Song Contest: From Apolitical to Mega‐Political?

open access: yesPolitics & Policy
ABSTRACTIn the realm of a changing geopolitical landscape and the concomitant politicization of culture, this article focuses on how shifts in political orders within the broader context affect and politicize a cultural party. The study draws inspiration from the Eurovision Song Contest (ESC) and how the 2024 edition of the contest underscored, more ...
Christina Öberg
semanticscholar   +3 more sources

Emotions in Eurovision Song Contest Lyrics

open access: yes2025 MIPRO 48th ICT and Electronics Convention
The Eurovision Song Contest, started in 1956, is the longest-running annual TV music competition. So far, more than 1,500 songs have been sung at the competition, the lyrics of which contain numerous emotions. Emotion mining, one of the areas of sentiment analysis, deals with the automatic detection of emotions in text.
Dobša, Jasminka, Bužić, Dalibor
openaire   +2 more sources

Eurovision Song Contest: Can juries assess the quality of songs objectively?

open access: yesCentral European Journal of Operations Research
zbMATH Open Web Interface contents unavailable due to conflicting licenses.
Nikola Kadoić   +2 more
openaire   +2 more sources

My heart has no colour: Lusotropicalism and Black Lusophone representation in the Eurovision Song Contest 1994 – 1996.

open access: yesTijdschrift voor Mediageschiedenis
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 ...
Greg Cotton
doaj   +2 more sources

Audiovisual narratives of the Sami people at the beginnings of the Eurovision Song Contest (1960–1980)

open access: yesCogent Arts & Humanities
Held annually since 1956 and attracting the continuing participation of most European countries, the Eurovision Song Contest (ESC) is usually defined as the audiovisual counterpart to the contemporary history of the continent.
José Luis Panea
doaj   +2 more sources

Do songs in English do better? Studying linguistic diversity within Eurovision Song Contest entries

open access: yesDiacrítica
Languages at Eurovision have long been a source of debate. The frequent use of English as the primary singing language has raised questions about whether performing in English rather than a national language improves a song’s chances of winning. Studies
Francisco Javier Palacios-Hidalgo   +1 more
doaj   +6 more sources

Grey People in an Ordinary World: navigating the politics of migration at the Eurovision Song Contest [PDF]

open access: yesEuropean Journal of Cultural Studies
The Eurovision Song Contest positions itself as a nonpolitical cultural event that unites Europe in song. However, politics and the representation of politicised issues permeate the song contest through a focus on values based politics rather than state ...
Carniel, Jessica
core   +2 more sources

The ‘Gay Olympics’? : the Eurovision Song Contest and the politics of LGBT/European belonging [PDF]

open access: yes, 2016
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 ...
Baker, Catherine
core   +1 more source

The Modern Fairy Tale [PDF]

open access: yes, 2020
This book provides a unique and intriguing insight into current debates concerning the relationship between nation and state as well as the political management of international image in today’s Europe through an examination of debates on nation branding
Jordan, Paul
core   +4 more sources

Songwashing: Russian Popular Music, Distraction, and Putin’s Fourth Term

open access: yesThe Russian Review, Volume 82, Issue 4, Page 682-704, October 2023., 2023
Abstract This article investigates how the Russian state apparatus, in its diverse, loose, and undercoordinated points of affiliation, used contemporary popular music to its own advantage during Vladimir Putin’s fourth term and before the full‐scale war in Ukraine.
Marco Biasioli
wiley   +1 more source

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