Moving the voting system away from experts could be interpreted as a tactic to include American audiences.
Articles on Eurovision
Displaying 21 - 40 of 49 articles
Ukraine is partnering with an advertising company to produce an innovative nation branding campaign during a war. The campaign could have influence beyond how Ukraine and Russia conduct this war.
For many, the 2022 Eurovision Song Contest has answered the eternal question: is Eurovision political?
Ukraine’s Eurovision contestant is building on a wave of support for the nation’s music in past contests.
Politics have never been that far away from the Eurovision Song Contest. Since its inception, the annual event has reflected the political culture and geopolitical realities of Europe.
Eurovision costumes embody the cultural values, national spirit and expressive agency of the artist. Here are the best (and weirdest) of the bunch.
Australia was the only nation to perform ‘live-on-tape’ in the first Eurovision semi-final. Some suggest this hindered our chances, but taped performances may be the way of the future.
The movie is indeed a silly look at how sharing song and media in popular culture can affect how we relate as individuals and nations but it also carries deeper insights.
Bursting with bubblegum Scandi-pop, this glitzy, sequinned melodrama might just be the thing to fill that discoball-shaped hole left by this year’s cancelled Eurovision.
After the UK flopped in the 2019 Eurovision Song Contest, there’s an appetite for another kind of Brexit. But this wouldn’t be a good idea.
Long known as a spectacle of quirky Euro-kitsch, this year’s contest more closely resembled singing TV shows such as The Voice. Notable exceptions, however, were Iceland’s Hatari and our own Kate Miller-Heidke.
Since it began in the 1950s, Eurovision has embraced everything from metal to the global juggernaut of Scandi-pop, and of course the Eurodance and disco synonymous with Eurovision.
Eurovision Song Contest fandom on social media is giving LGBT issues a global platform.
Despite the peace and prosperity brought about by the EU, it continues to be seen as remote and antidemocratic. How can this be fixed ? One possibility is the creation of a Commissioner for Happiness.
For many years now the UK has been a Eurovision laughing stock, despite a wealth of pop talent. What about if it was to pick one of these sure-fire rockstar winners instead?
The golden days of the 1960s protest song may be past, but music is still used across the world as a vehicle to voice political views. More than a sideshow, it can be a form of mobilisation and an expression of ‘soft power’.
This year’s Eurovision had it all: geopolitical debates, a boycott threat, great music and a cracking Australian entry. Russia is outraged by Jamala’s winning song about the deportation of Crimean Tartars - but the contest has always had political nuances.
Leave had a 20 point lead over Remain in a recent YouGov poll – but this Brexit referendum concerned Britain’s membership of the Eurovision Song Contest, not Europe.
Eurovision wants to protect its ‘non-political nature’. But can it?
Australia has struggled to forge cultural ties with the Asia-Pacific region. But SBS’s deal to develop an Asian Eurovision could change this - there is more to the event than music, costume reveals and wind machines.
Top contributors
-
Associate Professor in Humanities, University of Southern Queensland
-
Reader in 20th Century History, University of Hull
-
Associate Professor, Music Industry, RMIT University
-
Academic, Leeds Trinity University
-
Director, MA Cultural Policy, Relations and Diplomacy, Goldsmiths, University of London
-
Associate Professor of History, University of Nottingham
-
Teaching Associate in Politics and History, Monash University
-
Lecturer in Medical Statistics, UCL
-
Non-Clinical Lecturer in Biostatistics, Imperial College London
-
Associate Professor in Politics and International Relations, Monash University
-
Président, Kühne Logistics University; ESCP Business School
-
Associate Professor of Design Research, Emerging Technology Research Lab, Monash University, RMIT University
-
Professor of Drama, Flinders University
-
Professor Emerita, Classical Studies, The Open University
-
Co-director of The J.M. Coetzee Centre for Creative Practice, Adelaide University