Eurovision Song Contes, beyond the song
Abstract The European Broadcasting Union (EBU) was born in 1950 to improve service radio and television through collab-oration and sharing content. This was, initially, limited only to news and sports. Therefore, in order not to be based only on that content, in 1956 they opted to create an event where music was a link between peoples: the Eurovision Song Contest. Sixty-one years later, the Song Contest has become one of the longest running programs in television in the world as well as one of the events that have the highest audience. The objective of this research is to know if the Eurovision Song Contest fulfills the purposes of the EBU, which refer to cultural diversity and the identity of peoples.
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Baker, C. (2008). Wild Dances and Dying Wolves: Simulation, Essentialization, and National Identity at the Eurovision Song Contest. En Popular Communication, 6 (3), 173-189. Recuperado de http://dx.doi.org/10.1080/15405700802198113
“Barei, reina de las redes en un espectáculo de millones de tuits”. (15 de mayo de 2016). RTVE. Recuperado de http://www.rtve.es/television/20160515/barei-reina-redes-espectaculo-millones-tuits/1351088.shtml
Berganza, M. & Ruiz, J. (2005). Investigar en Comunicación. Guía práctica de métodos y técnicas de investigación social en Comunicación. Madrid: Mc Graw Hill.
Björnberg, A. (2007). “Return to ethnicity: The cultural significance of musical change in the Eurovision Song Contest”. En Raykoff, I. & Robin, T. (2007). A song for Europe: popular music and politics in the Eurovision Song Contest (pp. 13-25). Aldershot: Ashgate.
Blangiardo, M. & Baio, G. (2014). Evidence of bias in the Eurovision song contest: modelling the votes using Bayesian hierarchical models. En Journal of Applied Statistics, 41(10), 2312-2322. doi:10.1080/02664763.2014.909792. Recuperado de http://dx.doi.org/10.1080/02664763.2014.909792
Bolin, G. (2006). Visions of Europe: Cultural technologies of nation-states. International Journal of Cultural Studies, 9, pp.189-206. Recuperado de https://www.academia.edu/962812/Visions_of_Europe._Cultural_Technologies_of_Nation-states
Capotorti, F. (1979). Study on the rights of persons belonging to ethnic, religious and linguistic minorities. Naciones Unidas.
Cebrián, M. (2003). Estrategia multimedia de la televisión en Operación Triunfo. Madrid: Editorial S.L. Ciencia 3. Distribución.
Dayan, D & Katz, E. (1992). Media events. The live broadcasting of history. Cambridge: Harvard University Press. Recuperado de http://bit.ly/25QEfEC
Derechos de las minorías: Normas internacionales y orientaciones para su aplicación (s.f.) Recuperado de http://www.ohchr.org/Documents/Publications/MinorityRights_sp.pdf?
“Eurovision Song Contest”. EBU. Recuperado de http://www3.ebu.ch/projects/tv/eurovision-song-contest.html
Fraguas, Toño (14 de mayo de 2016). “La guía definitiva para entender la geopolítica en Eurovisión”. La Vanguardia. Recuperado de http://www.lavanguardia.com/television/tv-or-not-tv/20160514/401790684306/geopolitica-bloques-paises-eurovision-espana.html
Gatherer. D. (2006). Comparison of Eurovision Song Contest Simulation with Actual Results Reveals Shifting Patterns of Collusive Voting Alliances. En Journal of Artificial Societies & Social Simulation, 9(2). Recuperado de https://www.researchgate.net/publication/5140466_Comparison_of_Eurovision_ Song_Contest_Simulation_with_Actual_Results_Reveals_Shifting_Patterns_of_ Collu-sive_Voting_Alliances
Highfield, T., Et Al. (2013). Twitter as a technology for audiencing and fandom: the #euro-vision phenomenon. En Information, Communication & Society, 16 (3), 315-339.
Jordan, P. (2009). Eurovision in Moscow: Re-Imagining Russia on the Global Stage. En E-Sharp, 14, pp. 39-61.
Jordan, P. (2011). The Eurovision Song Contest: Nation Branding and Nation Building in Estonia and Ukraine. (Tesis doctoral, Universidad de Glasgow). Recuperado de http://theses.gla.ac.uk/2972/
Jordan, P. (2014). The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. Tartu: University of Tartu Press.
Katz, E. (1980). Media Events: The Sense of Occasion. En Studies in Visual Communication, 6, pp.84-89. Recuperado de http://repository.upenn.edu/asc_papers/263.
L, M. (19 de mayo de 2013). “La audiencia española mantiene su interés por Eurovisión a pesar de los malos augurios”. Eurovision-Spain. Recuperado de http://www.eurovision-spain.com/iphp/noticia.php?numero=8815
Maurey, Y. (2009). Dana International and the politics of nostalgia. En Popular Music, 28(1), 85-103. doi:10.1017/S0261143008001608. Recuperado de https://www.jstor.org/stable/pdf/40212428.pdf?seq=1#page_scan_tab_contents
Mandinaveitia, Eduardo. (15 de mayo de 2016). “Eurovisión arrasa en Twitter”. 20 Minutos. Recuperado de http://blogs.20minutos.es/masquemedios/2016/05/15/eurovision-arrasa-en-twitter/
Pardo, J.M. (2005). Medio siglo del Festival de Eurovisión. Madrid: RAMA LAMA.
Raykoff, I. & Robin, T. (2007). A song for Europe: popular music and politics in the Eu-rovision Song Contest. Aldershot: Ashgate.
Rinne, J & Häyhtiö, T. (2007). Hard Rock Hallelujah! Empowering Reflexive Political Action on the Internet. En Jounal for Cultural Research, 11(4), 337-358. doi: 10.1080/14797580802038702. Recuperado de http://dx.doi.org/10.1080/14797580802038702
Skodra, C. (2010). Destination Branding and Spotlight Cultural Events. Media narratives of Eurovision and Finland. (Tesis de maestría, Sibelius-Akatemia). Recuperado de: http://ethesis.siba.fi/files/nbnfife201007082161.pdf
Statutes of the European Broadcasting Union. 3 de diciembre de 2015. Recuperado de http://www.ebu.ch/files/live/sites/ebu/files/About/Governance/Statutes_EN.pdf??????
Vallés, M.A. (1997). Técnicas cualitativas de investigación social. Reflexión metodológica y práctica profesional. Madrid: Síntesis Sociología.
White, Jim (19 de marzo de 2007). “Eurovision is tuneless, but inspirational”. The Telegraph. Recuperado de http://www.telegraph.co.uk/comment/personal-view/3638564/Eurovision-is-tuneless-but-inspirational.html
Wolther, I. (2015). “You wouldn’t know me at all”. En Texte: Public Service Media in Europe, 14, 46-51.
Yair, G. (1995). “Unite Unite Europe”: The Political and Cultural Structures of Europe as Re-flected in European Song Contest. En Social Networks, pp.147-161. Recuperado de https://www.academia.edu/4190892/Unite_Unite_Europe_The_political_and_cultural_structures_of_Europe_as_reflected_in_the_Eurovision_Song_Contest
Ortiz Montero, L. (2017). Eurovision Song Contes, beyond the song. Fonseca, Journal of Communication, 15(15), 145–162. https://doi.org/10.14201/fjc201715145162
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