دانلود کتاب The Eurovision Song Contest as a Cultural Phenomenon: From Concert Halls to the Halls of Academia

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Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Editors
Contributors
Foreword
Part I: From Lugano to the Classroom: the Eurovision Song Contest and Academia
1. The Grand Tour: the Origins of the Eurovision Song Contest as a Cultural Phenomenon
From Sanremo, Rome and Venice to Lugano...: Italy as the Inspiration for the ESC
...To Florence, Vienna and Prague: Teaching the World\'s First University Course on the ESC
Our Tour: Where We Take You in This Book
Notes
References
2. The Eurovision Song Contest: An Academic Phenomenon
The ESC as a contest
The ESC as Euro(vision)
The ESC as a Song Contest
The ESC as a TV programme
The ESC as a festival
Conclusion
References
Media and cultural studies
Politics and Euro(vision)
EurovisionAnalytics
3. A Human Rights-Based Analysis of the Eurovision Song Contest and the European Broadcasting Union
A Human Rights Response to State Violations Linked to the ESC: Urban Transformation and Forced Evictions in Azerbaijan
The EBU as a Soft Power Regional Mechanism: Leveraging Public Service Media (PSM) for Human Rights Protection
I PSM As a Human Right
II The EBús Soft Power to Leverage Human Rights Protection
Pop Culture as a Medium for Studying Human Rights
Note
Bibliography
Part II: From Past to Present: History, Politics and Society
4. The Mythology of Song Contests
Bibliography
5. Teaching European History and Memory through the Eurovision Song Contest during the COVID-19 Pandemic
Introduction
Teaching History and Memory Pre-Pandemic
Teaching History and Memory Online
Case Study: The Soviet Union and Russia
Conclusion
Note
References
6. A March for Power: The Variety of Political Programmes on the Eurovision Song Contest Stage
Backstage
The Apolitical Stance of the EBU
The ESC as a Cultural Seismograph
The Politics of Hegemonic Control
Israel and Europe: The Politics of Suspicion
Wars of Song: Politics of Conflict
Discussion
Notes
References
7. The Molitva Factor: The Eurovision Song Contest and \'Performing\' National Identity in World Politics
Performing National Identity at the ESC
The ESC and the Litmus Test of \'Europeanness\'
\'Molitva\' and the Politics of LGBTQ Visibility in Europe
Europeanisation, LGBTQ Visibility and Embodied Performances of National Identity: the Molitva Factor
Notes
References
8. A Critical Pedagogical Eurovision Euphoria: The Potential of the Eurovision Song Contest to Promote Values Propagated by the European Union within Formal Learning Contexts
Introduction
From the Initial to the Critical Use of ESC-Related Texts
Fit for Purpose and Tailor-Made ESC Roots
Data Collected From the Learning through the Eurovision Research Project
Reinforcement Activity 1
Reinforcement Activity 2
Reinforcement Activity 3
Homework Assignment
Lesson Conclusion
Insights Obtained From the Research Venture
Conclusion
Note
References
9. Sharing Values in the Eurovision Song Contest and the OTI Festival: The Moral Fourth Person in the Lyrics of the Winning Songs
Introduction
The ESC
Explicit versus Implicit Message
The Role of Discourse Functions
The Concept of a Musical Person
Exploring the Nature of the Musical Person
Step One: semantic and Pragmatic Types
Step Two: positive and Negative Features
Step Three: from the Musical Person to the Moral Person
The Moral Fourth Person in the ESC
A Comparative Perspective between the ESC and the OTI Song Festival
Conclusion
References
10. Eurovision in the Boardroom: What Does Voting Order Tell Us about Decision-Making?
Introduction
Subject Matter and Methodology
Data
Procedure
The Period from 1998 to 2008
The Period from 2009 to 2012
The Period from 2014 to 2019
Results
Discussion
Notes
References
Part III: From Stage to Screen: Film, Media, and Music
11. High, Low and Participatory: The Eurovision Song Contest and Cultural Studies
Introduction
A Tale of Two Contests: a Contrast in Aesthetics and Audience
Eurovision, Television, and the Rise of Cultural Studies in the Post-War Era
Beyond (the) Birmingham (School): the Rise of Eurovision as Participatory Mega-Event
Notes
References
12. Queer Camp against Franco: Iván Zulueta\'s Eurovision Song Contest Parody Un Dos Tres
Biography
Un dos tres and Camp
Gender, Homosexuality and Politics
Walter Benjamin and Mass Culture
Conclusion
Note
References
13. The Eurovision Song Contest and European Television History: Continuity, Adaptation, Experimentation
The ESC as a Media Event
The ESC and European Television History: Adaptation and Experimentation
The ESC and Mediated Temporality: Continuity and Change
The Value of Media Studies for ESC Research
Notes
References
14. From Trouble to Bubble? The Ambiguous Relationship between Professional Journalists and Fan Media in the Eurovision Song Contest
A Music Show outside the Focus of Music Journalism
The First Fan Media Present at the ESC
From Fan to Journalist
\"Meriting\" Accreditation
Accreditation as a Bottleneck
Assessment and Abuse
Fan Careers
The Position of an EBU Representative
Changing Media Landscapes
Conflict Potentials
Conclusions
Notes
References
15. Domesticity, Mass Media and Moving-Image Aesthetics: The Visual Identity of the Eurovision Song Contest as a Hospitable Platform
Introduction
State of the Question and Methodology
The Visual Identity of the Eurovision Song Contest
Flowers for a Europe in its Prime
The Importance of Skylines as Frames of Reference
The Aquatic Metaphor for an Emerging Europe
Animals on Stage
The Architectural Turn: bringing Local History to a Global Stage
Objects and Symbols from the Cultural Heritage of the Host Country
Conclusion
References
16. Armchair Researchers: Modes of Ethnographic Research for Understanding and Experiencing the Eurovision Song Contest
Aca-Fan Researchers: Positionality and Responsibility
The Places and Spaces of Eurovision Research
Conclusion
References
17. Between Concepts and Behaviours: The Eurovision Song Contest and Ethnomusicology
Ethnomusicology and the ESC: the state of the art
Sound, concepts and behaviour in \"Amar pelos dois\" a paragraph Lisbon, 13/05/2017
Lisbon, 13/05/2017
Lisbon, 14/05/2017
A final reflection
Notes
References
Index